ABSTRACT
Before introducing authors' film project, she explores the difference between works of visual representation that ritualize a violent order, rather than disturb it. The author explores how the vicious cycle of the drug wars spans generations. The conceit of the author's film, The Prison in Twelve Landscapes, is a film about the prison in which one never sees a prison. The author offers an annotated exposition of two landscapes which appear as scenes in my film. In the first, the social relation is property, and the landscape is the securitized real estate corridor of downtown Detroit. In the second, the relation is wage-labor, and the landscape is the impoverished coalfields of Eastern Kentucky. The mutual and complicated co-constituencies of race and class operate throughout. Prison abolition is a movement aimed at changing the relationships that produce the kinds of events and behaviours for which prisons, and other carceral formations, operate or seem to operate as the solution.
