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Guy Debord’s Society of the Spectacle (1967) provides the corrective: in late capitalism, lived experience is replaced by representation. The prison spectacle—elaborate heist sequences, emotional catharsis in the visiting room, stylized violence—replaces the mundane, brutal reality of mass incarceration. The viewer consumes not the prison, but the image of the prison as a thrilling, contained drama.
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This paper posits that popular media has constructed a —a hyperreal version of incarceration that distills real carceral conditions (violence, boredom, systemic racism) into digestible, addictive tropes. This transformation has profound implications for public policy perception, the actual prison-industrial complex, and the ethics of viewing suffering as entertainment. Viewers utilizing these search terms are looking for
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