Social Criticism
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“Judgement” by John MacWhirter, signed print from an engraving, ca. 1935–43, for the Works Progress Administration. Via the Schomburg Center for Research in Black Culture, Art and Artifacts Division, NYPL Digital Collections, image 5179597. Click image to enlarge. ↩︎
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Biblical quotation from Micah 3. ↩︎
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Biblical quotation from Isaiah 10. ↩︎
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The Library of Congress has photos produced by the Farm Security Administration of flood refugees in 1937. Many of them are African American. ↩︎
Women and Children Working in New York City Tenement Homes, 1908
Photographs of women and their children doing piecework: Lewis Wickes Hine took these for the National Child Labor Committee in New York City in January and February 1908. See individual captions below.
[1] 122 Sullivan St. 2nd Floor rear. Leveroni family. Earn 4 cents a gross making violets. Can make 20 gross a day when children work all day. Father has work. Mrs. Leveroni; Tessie Leveroni, age 9; Stephen Leveroni, age 6; Margaret Leveroni, age 7; Josephine Cordono, age 10. These children work on Saturdays on afternoons after 3 o’clock, and evenings until 8 or 9.
[2] Mrs. Finkelstein, 127 Monroe St. Bessie (age 13), Sophie (age 7). Girls attend school. Making garters for Liberty Garter works, 413 Broadway. Mother, a widow, earns 75 cents a day by working all day until 12 at night. Bessie works until 10 P.M. Sophie until 9 P.M. They expected to work until 10 P.M. to finish the job, although they did not know when more work would come in. Witness Mrs. Hosford.
[3] Widow & boy rolling papers for cigarettes in a dirty N.Y. tenement.
[4] Late at night. Sewing tapes on gloves. The boy helps. Family of five sleep in room where the work is done.
These photos are part of the National Child Labor Committee Collection held by the Library of Congress.
'Judgement' by John MacWhirter for the WPA, ca. 1935–43
In the powerful image above,1 a biblical passage on the pulpit reads:
They build up Zion with blood, and Jerusalem with iniquity. The heads thereof judge for reward, and the priests thereof teach for hire, and the prophets thereof divine for money: yet will they lean upon the Lord, and say, Is not the Lord in the midst of us? No evil can come upon us. Therefore shall Zion for your sake be plowed as a field2 … Woe unto them who decree unrighteous decrees … who turn aside the needy from justice, and rob the poor of my people of their rights.3
Below are church pews full of worshipers. Straight ahead are two church windows and above them a cross in front of a bigger window that is cracking. The walls of the church and a beam are coming down, helped along by falling bombs. Surrounding the cross that the bombs are falling toward are four quadrants that show challenges and injustices of the late 1930s and early 1940s. (If they match up with the Four Horsemen of the Apocalypse, I am unsure how.)
Clockwise from top-left: There is a factory producing something; out front stands a boy whose emaciated ribs and distended stomach are painfully visible. Next, there are buildings almost completely submerged by flood waters; flooded telephone poles are leaning precariously.4 After that is a Black man hanging by his neck from a tree; the seated onlookers are wearing civilian clothes, not Klan robes. Finally, there are sharecroppers bent over, working a field, presumably for less than their bare subsistence requires.
An Example of White Terror Depicted in WPA Art
“South” by Philip Reisman. “Executed for the Public Art Works Project, 1934."*
The South here is portrayed as a place of white terror: lynching, cross burning, Ku Klux Klan. Note, too, the figures on the left: men in chains working at gun point, modern-day slave labor powering industry. The prisoner whose face is visible is Black, the armed guard white. (Click to enlarge for detail.)
I’ve always avoided posting such images, but the history whitewashing of the current administration is making me think differently. This art, at least, is respectful. It depicts the humanity of the victims, unlike the grizzly souvenir postcards circulated by the terrorists.
* Source: NYPL Digital Collections, image 5179787.
“One of the many young newsboys selling late at night…, November 1912” by Lewis Wickes Hine for the National Child Labor Committee.
Via New York Public Library, image 464486.
📽️ Arte is streaming classic postwar Italian cinema at the moment. I watched “Bellissima,” dir. Luchino Visconti (Italy, 1951), and starring the brilliant Anna Magnani. (See Pat Kewly’s review in PopMatters for a good overview.)
I enjoyed another Marlene Dietrich movie this evening: “Dishonored,” dir. Joseph Starnberg (Paramount, 1931). This was her second U.S. film, coming on the heels of Starnberg’s “Morocco” (1930). She doesn’t sing this time, but her piano playing is striking. As with “Blonde Venus," her sense of duty and love put her in the crosshairs of men and their law.
First image: “Morroco” ad for moviegoers in Photoplay Magazine, January 1931. Second image: First page of a three-page “Dishonored” ad for people in the distribution and exhibition segments of the movie industry, in The Film Daily, March 5, 1931.
This evening I watched “Blonde Venus,” dir. Joseph Starnberg (Paramount, 1932).
Paramount ad for the film featuring its star, Marlene Dietrich. The ad appeared in the movie industry newspaper The Film Daily on September 12, 1932.
Just watched “The Roaring Twenties,” dir. Raoul Walsh (Warner Bros., 1939). It starts in World War I and moves into prohibition and a spell of joblessness, followed by bootlegging, prosperity, and a rollicking good time, except for the unrequited love. Then things fall apart for the film’s main protagonist, played by James Cagney.
Image from “Warner Bros. Pressbook” (1939), Internet Archive.
Watching 'Citizen Kane' in late 2024
Last week I watched “Citizen Kane” (dir. Orson Wells, 1941) for the first time in more decades than I can remember. I didn’t really enjoy the experience, maybe because the initial premise (tearing a boy away from his home for a huge inheritance) is as misshapen as the psychological development of the lead role, Charles Foster Kane. There is also the crass materialism, the emptiness of Kane’s soul, and his insatiable appetite for the adoration of others. His unhappy loneliness in the end as the only occupant (not including servants) of a giant castle filled with statues and other valuable artifacts from Europe was presumably the point of this bleak story, one that might be construed as a moral tale.
I should have liked the references to newspaper moguls and opinion making to be less oblique, though that might have pushed one of them too far in real life. (Apparently William Randolph Hearst did what he could to suppress the film because it hit too close to home.) Or maybe this context was secondary to Kane’s personal development anyway. After all, this was an era when foreign correspondents reported on populists and dictators, and psychoanalysis was in vogue. Sure, it was an era of mass politics, but these masses had their great men, for better or worse.
None of this is a criticism of the film. I just didn’t enjoy it. Perhaps the biggest problem is how readily Kane can stand in for certain men in our own time. The film’s dark, fatalistic overtones reinforced this effect in my mind. Still, there is one external factor that helped me to contextualize “Citizen Kane” better this time around: I actually saw the Hearst Castle in 2018, a truly extraordinary monument, fascinating and unsettling at the same time.
Indoor Roman Pool at Hearst Castle
Photos of Children Working in Textile Mills, 1908–1914
The textile industry was long a stronghold of child labor. More than 75,000 children 10 to 16 years were employed in textile mills in 1910 – the census did not count those under 10 years.
– Lewis W. Hine in a photo study for the National Child Labor Committee, The New York Public Library.
Images from a photo study by Lewis W. Hine for the National Child Labor Committee, The New York Public Library. Linked captions lead to their respective image pages.
Photos of a Vigilante Deportation in 1917
I was quite startled by these and related images from 1917 because they show a lot of men being rounded up for removal in box cars in the hot dessert sun. It turns out that this was the Bisbee Deportation of IWW strikers in 1917. Some 1,300 people were kidnapped and put on a train in the summer heat by a 2,200-man posse. The action, ordered by Phelps Dodge, was illegal but supposedly not covered by federal law, only state law, and the state never prosecuted. In fact, one photographer, Dix, saw a money-making opportunity in the forcible removal of workers from Arizona to New Mexico. The Library of Congress holds the first, darker image below as a photo print, whereas it has the other three lighter images by the same photographer as postcards, suggesting the existence of at least a local market for souvenirs.
“Marching From Lowell [Ariz.], Deportation of I.W.W.s, July 12, 1917."
“July 12, 1917, Deportation of I.W.W.s, Marching Down R.R. Track from Bisbee."
“Deportation of I.W.W.s, July 12, 1917, Guards around Ballpark at Warren."
“Deportation of I.W.W.s, July 12, 1917, Marching Men to Train from Warren Ballpark."