**SOUNDTRACK
INTERVIEWS**
|
||||
CORRECTIONS:
ASHLEY HUNT INTERVIEW
The United States has the largest percentage of imprisoned human
beings of any country in the world,
and through all of human history on this planet. It's a concealed tradition
tied to the profit system
that dates back to slave culture and later the post-Civil War South, when
desperate farmers
cut financial deals to replace slaves with prisoners, and wrongful arrests
emerged as a lucrative
enterprise.
Today that very profitable, more contemporary form of slavery known
as the privatized prison industrial
complex persists as perpetuated prison villages, correctional meat markets
and theme park
style gulag enterprises. These are characterized by the excessively extended,
mass incarceration
of over two million, including one in every four African American males.
That inhumane system enriches itself through the very unholy alliance
of contracting corporations,
economically depressed rural communities eager for jobs and federal funding,
profiteering
advocate politicians, and the opportunistic spreading of mass hysteria
through the misleading
'get tough on crime' movement. And it reaps $50 billion tax dollars for
them yearly, for everything
from instruments of torture to potato chip concessions and movies leased
through Hollywood
studios.
I spoke with young artist and documentary filmmaker Ashley Hunt,
who examines in Corrections
how all this came about. Hunt has assembled jaw dropping footage, including
the Corrections
Corporation of America and the gleeful hawking of hideous restraint wares
at the American
Correctional Institution's annual trade show. His scathing "Roger
And Me" style expose documentary,
which lends horrific perspective to the recent death of a child at an
Arizona prison camp,
bears the ironic tag line that Corrections 'takes audiences behind the
walls of a prison where
they might not want you to leave.'
What were your own personal observations, feelings and experiences
that moved you to film this expose?
ASHLEY
HUNT: Well, one of the things that my artwork has been concerned with
for a long time, has
been the politics that determine and define us. And define where we can
go and can't go, and who
we think we can be and cannot be. And obviously the relationship of that
to economics is very important
within a capitalist society.
So Corrections was a piece that was inspired when I found out about
the story of a juvenile prison
in Louisiana, Tallulah Correctional Facility, which had inflicted gross
human rights violations. And
the story then revealed that this was a private prison. It was for profit,
it was run for the profit of
business people.
And the human rights violations could generally be traced back
to profit saving motives. That was
bad enough for one movie project alone. But another discovery that was
shocking, is that they would
oftentimes keep juveniles past their release dates. And the reason they
would do this, was to
get more money.
So the profit incentive not only drove them to not feed, not clothe
and not have an adequate enough
environment in which children were not being brutalized. But the profit
motive is also criminalizing
these children. And so this had really profound implications for me, in
terms of a lot of the
issues we have within the criminal justice system today, but also outside
of it.
Like who we are told to fear, and feel threatened by. And how that
kind of fear and threat is used in
terms of racism especially, but also class fear, and just fear of strangers
in general. How that is used
to keep us divided from one another, keep us alienated, and keep us quiet
about all this.
Your film mentions how some of these children as young as nine years
old are being dragged away
in handcuffs from schools, directly to these facilities.
AH:
Well, that's a result of the zero tolerance laws. One of the things we
see right now, is not only criminal
justice policies in general getting 'tougher,' but we also see these policies
moving into schools
at a really disturbing and alarming rate.
And in fact in Mississippi, the legislature there recently passed
a three strikes law. Three felonies
and you get a mandatory minimum sentence of like 25 years to life. And
this is now a law that
has been moved inside schools. Where in Mississippi's public school system,
children can strike
out in the same way.
And the situation in Louisiana described in the movie, deals with
that zero tolerance mentality. It's
that sort of police mentality moving inside schools. And where we're no
longer tolerant of our children.
So oftentimes what you see in public schools across the country
now, is a police officer on the campus,
who will arrest a student and take him away, without even passing by the
principal's office to
say hey, I'm taking this kid. They've just been given carte blanche to
do that.
And none of this has anything to do with fixing the real problems
that exist within the public school
system, but is really a distraction, and a way for public officials to
make themselves look like
it's not something they have anything to do with. So now it's a militaristic
mentality, as opposed
to a more bureaucratic one.
How do you feel that we as a nation ended up with these houses of
horror with mass incarcerations
that are blanketing the country, and becoming an accepted way of life?
AH:
Well, I think the context of it has been the rise of a globalized economy.
The context is really rolling
back all of the social programs that were in place institutionally and
otherwise. And that were
there to of compensate really, in a lot of ways, for the brutality of
capitalism.
It's the way in which capitalism requires, not only unemployment
and discipline of labor in order to
keep it cheap. But also we see so much unemployment and surplus labor
produced by jobs leaving
the country altogether.
This is all about the inequities that have been institutionalized
in this country, and that produce these
social problems. And since the early '70s, those inequities which seemed
to have been ironed
over or cosmeticized, have really become exacerbated.
So while all the welfare and social programs have been rolled back, prison
is the institution that compensates
for all of that. But the way it also happens is the ideological campaigning
of the law and
order movement that emerged nationally in the 1960's, and the escalating
'tough on crime' campaign.
All of this distracts from the real issues we need to deal with.
And at the same time, it has to produce
fear within the voting public. It has to produce fear, hatred and racism
old and new, that is necessary
to have two million people in prison, and to have people believe that's
a good thing, or that
it's reasonable somehow.
What are those vile prison trade shows all about, that you managed
to infiltrate with this movie?
AH:
Well, if you're familiar with the idea of the banality of evil, these
trade shows are really that. They
are big trade shows like any other, from a Trekkie convention to a like
furniture show. You know,
where there's a bunch of people out there, to just make a living and push
their businesses.
And all the items that they're selling just happen to be items
of violence, physical or otherwise, that
supply the prison industry. You see everything from the obviously violent
wares like guns, riot gear,
physical restraints, and shackles and stuff, to the much more banal and
uninteresting - and at
times therefore all the more interesting - commodities, like just Frito
Lays.
So it's a really bizarre and fascinating introduction to a prison, to
go into this type of a show. Because
prisons have really become small cities. And the trade show is the place
where all these goods
are bartered.
And these trade conventions are the places where all of these things
get sold, and deals get made.
And it gives you a more concrete idea of the whole prison industrial complex,
and the way it functions
economically.
Which I tend to define as a complex of intersecting interests that
desire prison expansion for its own
sake. And for reasons that are alienated from ideas of justice or safety,
as we typically think of
those concepts.
Here is a huge group of people, buyers and sellers, where the growth
of the prison industry means
more wealth and economic opportunity for them. It's kind of like this
institutionalized process
in which the interests of some people are pitted against the interest
of other, in this sort of really
irreconcilable way.
What do you want audiences to come away with after seeing Corrections?
AH:
I want them to hopefully think that prison privatization is something
that shouldn't be happening
here in this country, or in any other country. And I want them to come
away asking a lot of
questions.
I want them to leave with lots of pieces of new information that
don't necessarily come to a whole
conclusion, but make you continue asking questions, and drive you to have
more conversations.
And question your beliefs about what we tend to think about crime and
related issues.
Private prisons, because of the corrupt motivation of profit within
them, are as a topic a good way
to initiate a conversation with people who tend to buy wholesale the tough
on crime movements
and all that. And who buy the necessity of more and more police and prisons.
It's a good way of initiating a discussion with those people, and
that criminal justice per se isn't just
about safety and justice, as we're led to think of it. But that it has
many more corrupt and complicated
origins, and other issues pushing it along now.
Because it's not just about the corruption of people who are out
for direct profit, as with private prisons.
It's also about what the violence of the prison system and the social
control that imposes, what
that allows to happen in a broader social way. And holding government
and the corporations, and
the people who make the real decisions, accountable.
**
Check out the Corrections website [http://www.independentfilms.com/corrections/filmmakers.htm]
for information about the film, related
prison protests,and scheduled screenings around the country and online.
There is also information
available about how you can arrange for Corrections to be obtained or
shown in your community.**
Prairie Miller/Soundtrack
**WBAI**99.5FM**Thursdays
10-11 PM, NY Time**
**Web
Radio Simulcast: mms://wbai.escape.com/wbai**
|
||||