Detainees as Political Props: How Prison Imagery Has Shaped U.S. Politics for a Century

Images of people in custody — behind bars, in shackles, or posed under the watchful eyes of officials — have been used for more than a century to demonstrate authority, signal order and influence public opinion.

Visuals in the Trump-era spotlight

Such imagery reappeared prominently during the Trump administration as part of a hard-line immigration narrative, appearing in government social posts and recruitment materials for agencies such as Immigration and Customs Enforcement. In one widely criticized episode earlier this year, a Trump administration official visited a high-security prison in El Salvador where some migrants were being held; photographs and video of shirtless, tattooed detainees standing behind bars were widely circulated and denounced by critics as dehumanizing propaganda.

Not a new tactic

Scholars note that the use of detainee and prison images stretches back nearly to the invention of photography. Examples over the decades include:

• Mid-20th-century photographs of men working in the Alcatraz penitentiary sewing room.
• Early 20th-century images from Mississippi’s Parchman Farm showing Black prisoners under guard.
• The 1988 political ad leveraging the photograph and record of Willie Horton to criticize then–Democratic presidential candidate Michael Dukakis as soft on crime.

Why visuals are powerful — and troubling

Visuals are especially persuasive because they engage viewers emotionally and quickly. As Renita Coleman, a journalism professor at the University of Texas at Austin, explains, "Photographs get into our brains a different route than words do" — they evoke feeling before reflection, and that initial reaction often shapes later interpretation.

"Photographs get into our brains a different route than words do."
— Renita Coleman, University of Texas at Austin

That power makes these images useful for political messaging, but also raises ethical concerns. Tara Pixley of Temple University emphasizes that incarcerated people usually cannot give meaningful consent to be photographed: permission is granted by officials, not by the people depicted.

Politics, prejudice and public perception

Race and class shape how prison imagery lands with the public. Ed Chung of the Vera Institute says political propaganda that weaponizes such images has helped win elections by tapping into fears and prejudices. Joseph Baker, a sociologist, notes the deep class and racial dimensions that make some audiences more comfortable with punitive images of those who "do not look like me or do not sound like me." These dynamics help explain why such visuals remain potent in campaigns and policy debates.

Toward a more humane conversation

Advocates urge shifting focus away from spectacle and toward policies that respect the dignity of people affected by the criminal justice system. Education for officials and the public, better reporting standards, and greater consideration of consent and context in imagery are among the remedies experts suggest. As Chung puts it, stepping back from political rhetoric can create space for constructive change.

Key takeaways: Prison and detainee imagery have long been used to project state power and shape public opinion; photographs are emotionally persuasive and can bypass critical reflection; issues of consent, race and class complicate their ethical use; advocates are pushing for more respectful practices and public education.