This book tells the story of the star class, a segregated division for first offenders in English convict prisons; known informally as 'star men', convicts assigned to the division were identified by a red star sewn to their uniforms. 'Star Men' in English Convict Prisons, 1879-1948 investigates the origins of the star class in the years leading up to its establishment in 1879, and charts its subsequent development during the late-Victorian, Edwardian, and interwar decades. To what extent did the star class serve to shield 'gentleman convicts' from their social inferiors and allow them a measure of privilege? What was the precise nature of the 'contamination' by which they and other 'accidental criminals' were believed to be threatened? And why, for the first twenty years of its existence, were first offenders convicted of 'unnatural crimes' barred from the division? To explore these questions, the book considers the making and implementation of penal policy by senior civil servants and prison administrators, and the daily life and work of prisoners at policy's receiving end. It re-examines evolving notions of criminality, the competing aims of reformation and deterrence, and the role and changing nature of prison labour. Along the way, readers will encounter an array of star men, including arsonists, abortionists, sex offenders and reprieved murderers, disgraced bankers, light-fingered postmen, bent solicitors, and perjuring policemen. Taking a fresh look at English prison history through converging lenses of class, sexuality, and labour, 'Star Men' in English Convict Prisons, 1879-1948 will be of great interest to penal historians and historical criminologists, and to scholars working on related aspects of modern British history.

From cops who are paragons of virtue, to cops who are as bad as the bad guys...from surly loners, to upbeat partners...from detectives who pursue painstaking investigation, to loose cannons who just want to kick down the door, the heroes and anti-heroes of TV police dramas are part of who we are. They enter our living rooms and tell us tall tales about the social contract that exists between the citizen and the police. Love them or loathe them - according to the ratings, we love them - they serve a function. They've entertained, informed and sometimes infuriated audiences for over 60 years. This book attempts to explain why, but also to facilitate learning about the genre in higher education, making these shows ""teachable"" in a way they have never been before. Today not only are there more critical texts available, but, in the age of the download and the boxed set, the raw material is there. This collection of essays examines Dragnet, Highway Patrol, Naked City, The Untouchables, The F.B.I., Columbo, Hawaii Five-O, Kojak, Starsky & Hutch, Hill Street Blues, Cagney & Lacey, Miami Vice, Law & Order, Homicide: Life on the Street, NYPD Blue, CSI, The Shield, The Wire, and Justified. It's time to take another look at the "perps," the "vics" and the boys and girls in blue, and ask how their representation intersects with questions of class, gender, sexuality, and "race." What is their socio-cultural agenda? What is their relation to genre and televisuality? And why is it that when a TV cop gives a witness their card and says, ""call me,"" that witness always ends up on a slab?