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 EDITED BY
SUSAN FLYNN AND ANTONIA MACKAY

Surveillance,
Architecture
and Control
DISCOURSES ON SPATIAL CULTURE
Surveillance, Architecture and Control
Susan Flynn • Antonia Mackay
Editors

Surveillance,
Architecture and
Control
Discourses on Spatial Culture
Editors
Susan Flynn Antonia Mackay
School of Media Oxford Brookes University
London College of Communication Oxford, UK
University of the Arts London
London, UK

ISBN 978-3-030-00370-8    ISBN 978-3-030-00371-5 (eBook)

https://doi.org/10.1007/978-3-030-00371-5

Library of Congress Control Number: 2018960936

© The Editor(s) (if applicable) and The Author(s) 2019

This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights of
translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
microfilms or in any other physical way, and transmission or information storage and retrieval,
electronic adaptation, computer software, or by similar or dissimilar methodology now
known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information
in this book are believed to be true and accurate at the date of publication. Neither the pub-
lisher nor the authors or the editors give a warranty, express or implied, with respect to the
material contained herein or for any errors or omissions that may have been made. The
publisher remains neutral with regard to jurisdictional claims in published maps and institu-
tional affiliations.

Cover illustration: Brian Jackson / Alamy Stock Photo

Cover Design: Akihiro Nakayama

This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
 Contents

1 Introduction  1
Susan Flynn and Antonia Mackay

Part I Urban Landscapes and Spatial Surveillance  17

2 Exercising Control at the Urban Scale: Towards a Theory

of Spatial Organisation and Surveillance 19
Alan Reeve

3 Staying Awake in the Psychetecture of the City:

Surveillance, Architecture, and Control in Miracleman
and Mister X 57
Kwasu D. Tembo

4 Surveillance and Spatial Performativity in the

Scenography of Tower 77
Lucy Thornett

v
vi Contents

Part II Domestic Architecture and Houses of Horror  99

5 Houses, Homes, and the Horrors of a Suburban Identity

Politic101
Jaclyn Meloche

6 One Grey Wall and One Grey Tower: The Bates World in
Alfred Hitchcock’s Psycho119
Subarna Mondal

7 Architecture and American Horror Story: Reading

‘Murder House’ on Murderous Bodies139
Antonia Mackay

8 Surveillance, Sousveillance, and the Uncanny Domestic

Architecture of Black Mirror155
Luke Reid

Part III International Spaces, Performativity and Identity 173

9 
The Birds: Public Art and a Narrative of Surveillance175
Joel Hawkes

10 Ireland’s Magdalene Laundries and the Psychological

Architecture of Surveillance187
Jennifer O’Mahoney, Lorraine Bowman Grieve, and Alison
Torn

11 Performing the Repentant Lover in the Courtroom: An

Analysis of Oscar Pistorius’ Recreation of Hegemonic
Masculinity209
Alexandra Macht
 Contents  vii

Part IV Technological Cultures of Surveillance 231

12 In the Drone-Space: Surveillance, Spatial Processing, and

the Videogame as Architectural Problem233
Nathaniel Zetter

13 Sensurround: 4D Theatre Space and the Pliable Body255

Stacy M. Jameson

14 Surveillance and Spectacle Inside The Circle275

Brian Jarvis

15 Wayfinding re/dicto295
Graydon Wetzler

16 Epilogue: Control(ling) Space325

Susan Flynn and Antonia Mackay

Index333
 Notes on Contributors

Lorraine Bowman Grieve is Lecturer in Psychology at Waterford

Institute of Technology (WIT), Ireland. She holds an MSc in Forensic
Psychology and a PhD in Applied Psychology. Prior to joining WIT in
2013, she worked at Leeds Trinity University College and University of
Lincoln, United Kingdom. She is primarily interested in the application of
social and forensic psychology to understanding behaviour and phenom-
enon related to crime, criminality and terrorism. She has researched ter-
rorist use of the internet for over ten years, in particular the content and
function of discourses supportive of terrorism and the potential of alterna-
tive discourses in counter-terrorism efforts. She is interested in online
interaction and engagement and in understanding the form and function
of extreme ideology online. She is open to discussing research possibilities
at both masters and PhD levels.
Susan Flynn is Senior Lecturer in Media Communications at the
University of the Arts, London. Specialising in visual culture, media equal-
ity, film studies and the links between the cultural and the digital sphere,
her work is featured in a number of international journals and collections.
She is co-editor of Spaces of Surveillance: States and Selves (2017) and
Surveillance, Race, Culture (2018).
Joel Hawkes is Lecturer in English Literature at the University of
Victoria, British Columbia. He is particularly interested in the practices
and performances that create the physical and literary spaces we inhabit.
Though primarily a modernist, his work is cross-period and interdisciplin-
ary. Recent publications include “The Theatre of the Self: Repetitious and

ix
x NOTES ON CONTRIBUTORS

Reflective Practices of Person and Place,” in Joss Whedon’s “Dollhouse”:

Confounding Purpose, Confusing Identity (2014), “The Title of Virginia
Woolf’s Between the Acts” in Virginia Woolf Miscellany (2016) and
“Rituals of Madness in the Practices of Place” in the Journal of Medical
Humanities 37.1 (2016). Forthcoming papers include “Primitive Modern
Dogmas of Place: Mary Butts and Christopher Wood in Paris and
Cornwall,” in Beyond Given Knowledge: Investigation, Quest and
Exploration in Modernism and the Avant-Gardes, and “Bodies Out of
Place in the 21st Century City: Sherlock, Luther, River and the Urban
Gothic of London’s Overdetermined Streets,” in Revenant.
Stacy M. Jameson is a Lecturer in Film/Media at the University of
Rhode Island and Film Studies at Connecticut College. She holds a PhD
in Cultural Studies from the University of California, Davis, United States,
and has completed an Andrew W. Mellon Postdoctoral Fellowship at the
Jackman Humanities Institute at the University of Toronto. She is co-­
author of the book Strip Cultures: Finding America in Las Vegas (2015),
for which she wrote an article relevant to this current project titled
“Gaming the Senses” that considers how the nonvisual senses are branded
and galvanised throughout the city spaces and function to orient us as
viewers and consumers. Her work engages a wide range of related ques-
tions about food, embodiment and the senses in American film, television
and mass culture.
Brian Jarvis is Senior Lecturer in American Studies at the Loughborough
University. He is the author of Postmodern Cartographies: The
Geographical Imagination in Contemporary American Culture (1998),
Cruel and Unusual: Punishment and U.S. Culture (2003) and co-author
of The Contemporary American Novel in Context (2011) as well as a num-
ber of essays on American fiction and film.
Alexandra Macht is Lecturer in Sociology at Oxford Brookes University.
As an early career researcher, her work bridges the sociology of emotions,
critical studies of men and masculinities with family and personal relation-
ships, from an intersectional feminist perspective. She holds an
ESRC-funded PhD in Sociology from the University of Edinburgh
focused on cultural conceptions of love among Scottish and Romanian
fathers, exploring the themes of masculine identity, intimate power
and capitalism in relation to emotions. She is the co-editor of the
annual publication of The International Network of Leave Policies and
 NOTES ON CONTRIBUTORS xi

Research alongside Peter Moss, Sonja Blum and Alison Koslowski.

Her additional membership affiliations include the European
Sociological Association, The British Sociological Association and
The BSA Sociology of Emotions Study Group. Macht uses the
Twitter handle (@Alexandra_Macht) to promote personal or aca-
demic material.
Antonia Mackay is an associate lecturer at Oxford Brookes University
and a postgraduate research assistant for a British Academy/Leverhulme-­
funded project. She has taught on a wide range of undergraduate and
postgraduate modules including American Theatre, American Vistas,
Critical Theory, Robots, Cyborgs and Digital Worlds, Contemporary
Literature and Twentieth Century Literature. She has published arti-
cles on space, technology and identity, and is co-editor of Spaces of
Surveillance: States and Selves (2017) and Surveillance, Race,
Culture (2018). She is also co-editor of a collection on HBO’s Westworld, edi-
tor for the Irish Journal of American Studies and author of a monograph
on urban and suburban spaces in postwar America. In 2014 and 2016, she
won the Nigel Messenger Teaching Award at Oxford Brookes.
Jaclyn Meloche is a part-time professor at the Department of Visual
Arts, University of Ottawa. Meloche is an interdisciplinary artist-scholar
whose contributions to performance studies, feminist art historical criti-
cism and contemporary material culture are informed by the research
question: how are [nonhuman] materials such as lines, taste, the
environment and smell vis-à-vis the body co-produced, and subse-
quently co-produce each other to perform in a studio arts practice?
She holds a Bachelor of Fine Arts from the University of Ottawa, a
Master of Arts in Canadian Art History from Carleton University, a
Master of Fine Arts from the School of Visual Arts and a PhD in
Humanities (Fine Arts) from Concordia University.
Subarna Mondal is an assistant professor at Thakur Government
College, West Bengal, India. She is a research scholar at Jadavpur University
and her research interest includes the Gothic tales of late Victorian age,
the Gothic on screen and the films of Alfred Hitchcock.
Jennifer O’Mahoney is Lecturer in Psychology at the Waterford Institute
of Technology. O’Mahoney lectures in psychology and crime, abnormal
psychology and advanced social psychology. Her research interests focus
xii NOTES ON CONTRIBUTORS

on forensics and victimology, where she has a particular interest in the

psychological sequelae of sexual violence.
Alan Reeve is Reader in Planning and Urban Design at Oxford Brookes
University. Reeve has a background in both English literature—with a BA
from Leeds University, which he took in the late 1970s, and then taught—
and architecture and urban design—in which he has another first degree,
a masters and a PhD. He has run the masters programme in urban design
for a number of years, and has taught for 25 years in this field. He has
published book chapters as well as peer-reviewed journal articles and
undertaken research in urban theory, urban management, regeneration
and in topics related to place and identity.
Luke Reid is a PhD candidate at Université de Montréal. His disserta-
tion, The Architectural Uncanny and Uncanny Architecture in American
Gothic, uses architectural theory to reconsider the gothic house as inflected
by issues of gender, sexuality, race and indigeneity, contending that
specific modes of historical suffering have specific poetics of space. He
teaches at Dawson College in Montréal.
Kwasu D. Tembo is an independent scholar. He holds a PhD from the
Department of Language, Literatures and Cultures, University of
Edinburgh. His research interests include—but are not limited to—com-
ics studies, literary theory and criticism, philosophy, particularly the so-­
called prophets of extremity—Nietzsche, Heidegger, Foucault and
Derrida. He has published on Christopher Nolan’s The Prestige, in The
Cinema of Christopher Nolan: Imagining the Impossible, ed. Jacqueline
Furby and Stuart Joy (2015).
Lucy Thornett is Lecturer in Spatial Design at the University of Arts,
London. She is co-convenor of the Theatre and Performance Research
Association’s Scenography Working Group, and an associate editor for
Blue Pages, the Journal for the Society of British Theatre Designers. She is
also a founding member of London College of Communication’s Space
and Place Research Hub.
Alison Torn is Senior Lecturer in Psychology at the Leeds Trinity
University. Torn spent nine years working as a psychiatric nurse, specialis-
ing in the field of drug and alcohol addiction, and HIV and AIDS. Following
this she began a career in research, working on diverse qualitative projects:
for example, exploring the emotion work of nurses, identifying p­ roblematic
 NOTES ON CONTRIBUTORS xiii

drug use in younger people and evaluating city wide health initiatives in
Bradford, with a focus on community-led initiatives. Her PhD looked at
the relationship between people’s understandings of their “madness,” and
how this related to identity, social positioning and recovery. Her research
is focused on the history of mental health and narratives of early
education.
Graydon Wetzler is an independent scholar. Wetzler holds a PhD in
Performance Studies from the New York University. His dissertation,
Performance in Security, examined the ways that contemporary security
practices and technologies differentially modalise notions of an “act.” He
has contributed to several social activist initiatives including the
Hemispheric Institute of Performance and Politics (NYU) and the Center
for Critical Analysis of Social Difference (Columbia University). He also
served as a research assistant for Jordan Crandall in preproduction phases
of the multimedia installation, HOMEFRONT—an exploration of emerg-
ing surveillant technology projected through a cinematic lexicon. All of
this work develops from his longer creative practice rooted in experimen-
tal filmmaking.
Nathaniel Zetter is a PhD candidate in English at the University of
Cambridge, where his thesis explores the conceptual exchanges between
warfare and sport in twentieth-century culture. His writing on technology
and cultural politics has appeared in Studies in Control Societies and Critical
Quarterly.
 List of Figures

Fig. 2.1 Diagram of spatial practices and public space 30

Fig. 2.2 Residential street and surveillance from the space of the home 36
Fig. 2.3 Surveilling the domestic street – Neighbourhood Watch
schemes37
Fig. 2.4 Seating as a form of control 43
Fig. 2.5 Rules of use as a form of spatial control 44
Fig. 2.6 CCTV in public space – Oxford 45
Fig. 4.1 Tower. (Photographer: Amy Thornett) 78
Fig. 4.2 Tower video still. (Videographer: Justin Batchelor) 87
Fig. 4.4 Tower spectators. (Photographer: Amy Thornett) 89
Fig. 4.3 Tower spectators. (Photographer: Amy Thornett) 89
Fig. 10.1 Good Shepherd Convent, Waterford postcard. (The Poole
Photographic Collection, National Library of Ireland) 197
Fig. 10.2 Interior of Convent building 197
Fig. 10.3 Former Magdalene Laundry building (right) with connecting
hallway (centre of image) leading to Convent building 198
Figs. 10.4, The main corridor connecting the former Laundry building
10.5, and to the Convent (Fig. 10.4; see also Fig. 10.3). Halfway down
10.6 the corridor is the “penitent’s” entrance to the Chapel on the
right (Fig. 10.5). At the end of the penitent’s entrance are
the double doors (Fig. 10.6) leading directly into the left side
of the Chapel where the Magdalene girls would have sat for
Mass199
Fig. 10.7 Good Shepherd Chapel, ca. 1901–1908. (Poole
Photographic Collection, National Library of Ireland) 201

xv
xvi List of Figures

Fig. 15.1 Schematic/Pictorial rendering of Bruce Nauman’s “Video

Surveillance Piece” (1969). Image CC 2018, Graydon
Wetzler (the author) 301
Fig. 15.2 Alice goes twinning with/in a syneches (continuous) circuit:
Dee (top left), then Dum (top right), and, finally, together
(bottom). Image CC 2018, Graydon Wetzler (the author) 303
 List of Tables

Table 2.1 ‘Open minded’ and ‘single minded’ spaces (after Walzer
1986)32
Table 2.2 Urban design approaches to safer city centres 34
Table 12.1 Table of aesthetic, architectonic, and military-strategic
relations251

xvii
 CHAPTER 1

Introduction

Susan Flynn and Antonia Mackay

Contemporary culture is fascinated by surveillance systems. From the cul-

ture industries’ appropriation of surveillant narratives to the internal world
of personal experience, surveillance captures our imagination and impinges
on our collective psyche in a myriad of ways. Our lived environment, too,
is implicated in the iterations of surveillance and control which have come
to be associated with modern life. The buildings in which we exist not
only serve material functions but also embody society, culture, and the
social dynamics with which we organise our lives. The built environment
speaks to us in ways which are often subliminal, buttressing notions of
power, control, and organisation which underscore our communal exis-
tence. Buildings may be part of a shared heritage, vital repositories of his-
tory, monuments to past societies, or to the current zeitgeist. Architecture
is thus a player in the social landscape, in rituals, collective beliefs, and
practices. Through a range of diverse academic approaches, this collection
seeks to unpack some of the ambiguities of and connections between
architecture and discourses of power and control.

S. Flynn (*)
School of Media, London College of Communication, University of the Arts
London, London, UK
e-mail: [email protected]
A. Mackay
Oxford Brookes University, Oxford, UK
e-mail: [email protected]

© The Author(s) 2019 1

S. Flynn, A. Mackay (eds.), Surveillance, Architecture and Control,
https://doi.org/10.1007/978-3-030-00371-5_1
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