Re-viewing Foucault: The Disciplinary Gaze in Harun Farocki’s I Thought I Was Seeing Convicts, Lockup 360 and Fiona Tan’s Correction

Has the Panopticon, as a scholarly and artistic model, definitively lost its topicality and pertinence? Has it become a mere shorthand, used to designate the study and representation of power-knowledge relations that have moved well beyond both the realities and theorizations it once stood for, incl...

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Main Author: Martine Beugnet
Format: Article
Language:English
Published: Association Française d'Etudes Américaines 2022-12-01
Series:Transatlantica
Subjects:
Online Access:https://journals.openedition.org/transatlantica/20268
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author Martine Beugnet
author_facet Martine Beugnet
author_sort Martine Beugnet
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description Has the Panopticon, as a scholarly and artistic model, definitively lost its topicality and pertinence? Has it become a mere shorthand, used to designate the study and representation of power-knowledge relations that have moved well beyond both the realities and theorizations it once stood for, including Michel Foucault’s analysis of it? This article proposes to take a fresh look at the legacy of Michel Foucault’s Discipline and Punish: The Birth of the Prison, focusing on documentary works that take the American prison system as their topic. In the video installations and televisual production concerned, the acknowledgement of the failure of the “ideal” model evoked by Foucault with reference to the Panopticon and the establishment of a perverted system of pure control lead to an interrogation of contemporary forms of spectatorial engagement.
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spelling doaj-art-6ff92bed136b451aaff49cdf3ca390112025-01-30T10:43:25ZengAssociation Française d'Etudes AméricainesTransatlantica1765-27662022-12-01210.4000/transatlantica.20268Re-viewing Foucault: The Disciplinary Gaze in Harun Farocki’s I Thought I Was Seeing Convicts, Lockup 360 and Fiona Tan’s CorrectionMartine BeugnetHas the Panopticon, as a scholarly and artistic model, definitively lost its topicality and pertinence? Has it become a mere shorthand, used to designate the study and representation of power-knowledge relations that have moved well beyond both the realities and theorizations it once stood for, including Michel Foucault’s analysis of it? This article proposes to take a fresh look at the legacy of Michel Foucault’s Discipline and Punish: The Birth of the Prison, focusing on documentary works that take the American prison system as their topic. In the video installations and televisual production concerned, the acknowledgement of the failure of the “ideal” model evoked by Foucault with reference to the Panopticon and the establishment of a perverted system of pure control lead to an interrogation of contemporary forms of spectatorial engagement.https://journals.openedition.org/transatlantica/20268prisonFoucault (Michel)Panopticonsurveillancemedia art
spellingShingle Martine Beugnet
Re-viewing Foucault: The Disciplinary Gaze in Harun Farocki’s I Thought I Was Seeing Convicts, Lockup 360 and Fiona Tan’s Correction
Transatlantica
prison
Foucault (Michel)
Panopticon
surveillance
media art
title Re-viewing Foucault: The Disciplinary Gaze in Harun Farocki’s I Thought I Was Seeing Convicts, Lockup 360 and Fiona Tan’s Correction
title_full Re-viewing Foucault: The Disciplinary Gaze in Harun Farocki’s I Thought I Was Seeing Convicts, Lockup 360 and Fiona Tan’s Correction
title_fullStr Re-viewing Foucault: The Disciplinary Gaze in Harun Farocki’s I Thought I Was Seeing Convicts, Lockup 360 and Fiona Tan’s Correction
title_full_unstemmed Re-viewing Foucault: The Disciplinary Gaze in Harun Farocki’s I Thought I Was Seeing Convicts, Lockup 360 and Fiona Tan’s Correction
title_short Re-viewing Foucault: The Disciplinary Gaze in Harun Farocki’s I Thought I Was Seeing Convicts, Lockup 360 and Fiona Tan’s Correction
title_sort re viewing foucault the disciplinary gaze in harun farocki s i thought i was seeing convicts lockup 360 and fiona tan s correction
topic prison
Foucault (Michel)
Panopticon
surveillance
media art
url https://journals.openedition.org/transatlantica/20268
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