Skip to main content

The Media Proves It



By DaBreonna Doss

When doing scholarly research, scholars have this term called “coding”. Coding refers to the ways in which language is used, but underneath this language coded images pop up in our heads about what something is or looks like. For example, when you think of the words like American, nail technician, ghetto, etc you already have a preconceived notion of what these terms mean. Now, what if we take this coded language and apply it to the word “prisoner”, or more specifically “mentally ill prisoner”?

Scholars Schilders and Ogloff (2014) in “Review a point-of-reception mental health screening outcomes in an Australian Prison” states that 32-42 percent of the prisoners in the criminal justice system are mentally ill. This is close to half the prison population, and we must look into how these prisoners’ lives play out within the system.

The question I would like to explore is, within the criminal justice system, are government agencies providing the needed care that mentally ill prisoners require and are their current approaches effective? We will be using Schilders and Ogloff text, as well as the Netflix series Lockdown which dives deep into a prisoner’s life and experience. One commonality between the two is the implications set in place to assess prisoners on their entry to a new prison or reception as scholars refer. “... some prison officials merely asking prisoners on reception a few questions about their mental health history, with other prisons utilising more comprehensive screening...” (Schilders and Ogloff, 2014, p.481). In Lockdown, they talk about the fact that many procedures as far as mentally examining new entries, get prolonged because there are so many entries within a day. Another commonality is the ways in which they handle mentally ill prisoners. In season 3, episode 6, Lockdown talks about a woman with mental bipolar disorder. In response to her disorder, she only moves cells if necessary and sometimes placed in confinement for close watch. Schilder and Ogloff (2014) point out, “Eighty-five (23%) of the severe/acute group, 78 (19%) of the suspected/stable group and 530 (62%) of those with a history of mental illness were not recorded as being referred for an additional assessment...” (p.486). To define some terminology, “severe/acute” groups refer to mentally ill prisoners that are on close rotational watch for suicide and self-harm. “Suspected/stable” groups refer to those that have knowledgeable mental health issues but is not as bad, and then there are those who simply have a history of it. There are limited resources and no room for prisoners the require mental illness assistance. “Unsurprisingly, mentally ill prisoners required substantially more services than their non-mentally ill counterparts, which suggested that standard services offered by prisons may be less suitable for mentally ill prisoners” (Schilder and Ogloff, 2014, p.488).

I suggest that rather than using government finances to set in place disciplinary confinement cells, use it to create spaces that assist mental ill prisoners and problems will begin to find solutions. Schilder and Ogloff (2014) agrees with this solution and summarizes that by giving the expenses: prisoners have less chance of relapse, they can adjust into the prison society and outside the society, have necessary and constant treatment, room will come available, and prison staff will have assistance in situations outside of their training and a much safer environment (p.490-491). All-in-all, everyone wins!




Word Count: 559

Keywords: Mental health, prisoner, lockdown, Schilder and Ogloff, room




References


Myers, W. D., & Jackson, J. D. (2010). Lockdown. Recorded Books.


Schilders, M. R., & Ogloff, J. R. (2014). Review of point-of-reception mental health

          screening outcomes in an Australian prison. The Journal of Forensic Psychiatry &


          Psychology, 25(4), 480-494.

Comments

Popular posts from this blog

NO MORE DAISY DUKES

By Colleen Kelly This thematic series has begun to establish that female sexuality is an aspect of the music industry capable of crossing genre barriers. Country music has traditionally been labeled the genre with the least emphasis on female sexuality because of its socially conservative themes (Aubrey & Frisby, 2011, p. 477). I challenge this notion with my assertion that sexuality has always been present in country music but has undergone a change from a form of feminist liberation to a tool to objectify women. In the history of country music, particularly visible in the 1990s, there is a long-standing tradition of female artists using their music to advance feminist ideals and reclaim their sexuality (Berlatsky, 2014). Let me be clear that I am not asserting that these musicians are the long-awaited saviors of women. Rather, these female artists utilized the media to challenge societal norms surrounding gender and sexuality. Shania Twain was not only one of the biggest ...

SINCE WHEN DID POLITICIANS BECOME CELEBRITIES?

By Katharine McLean I distinctly remember the day Donald Trump announced that he was going to be running for president. I was sitting at my kitchen table with my mother as the highlights of his speech came on the news. That is when my mom rolled her eyes and says, “Well, this will be pretty entertaining.” She wasn’t wrong. I argue that the mediatized age that we live in has caused politicians to integrate celebrity tactics that can threaten the integrity of our politics, turning politicians and politics into a form of entertainment. A study conducted by Matthew Wood, Jack Corbett, and Matthew Flinders finds that past and current politicians are “gain(ing) popularity by adopting strategies from within the world of entertainment” (2016). Their research finds that there are two types of celebrity politicians based on what celebrity tactics are adopted based on three categories-- media platforms, marketing techniques and performative roles. When looking at Donald Trump thr...

ARE WE THE WEIRD ONES?

 By: Destiney Davis Eighteen-year-old Sam Gardner is your typical high school boy who loves his family, sports etc. except there’s one thing that makes him slightly different. Sam is on the autism spectrum (ASD). Atypical , it is a coming of age Netflix series that takes its viewers on a wild ride with Sam Gardner and his daily struggles with being a high school student with autism. The first season begins with what any teenage boy enjoys, girls. Sam Gardner begins asking advice from father about girls and dating and is welcomed with loads of advice from his father, Doug. But from his mother, Sam receives almost complete resentment and negativity when bringing upon the idea of dating. But why? Why is such a normal teenage action being turned down simply because of a mental disability? According to the National Institute of Health, about 1 in 68 children are diagnosed with ASD. Disabilities are quite difficult to discuss whether it be in our own communities or the media...