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World War II Warplanes As Cultural Heritage

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World War II Warplanes As Cultural Heritage A Better Past Through Technology: World War II Warplanes as Cultural Heritage Kent Allen Wayland Knoxville, Tennessee B.A., Vanderbilt University, 1992 M.A., University of Virginia, 2000 A Dissertation Presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Anthropology University of Virginia May, 2006 © Copyright by Kent Allen Wayland All Rights Reserved May 2006 i Abstract The restoration of World War II warplanes offers the chance to explore technology and history as cultural constructs in American culture. Beginning in the 1960's, several different groups began to collect these planes, called “warbirds,” and to fly them at airshows and public commemorations as a form of cultural heritage. This investigation merges actor network theory from the field of science & technology studies with anthropological work on cultural invention to examine how these warbird afficionados use their airplanes to invent a usable past. The past they invoke allows them not only to attract veterans who share their emotional stories of the war, but also to imagine the United States during the “Good War” as an ideal, militarized nation which should serve as a model for the present. This cultural invention occurs both at airshows, where the warbirds perform for the public, and in restoration and maintenance hangars, where both professionals and volunteers engage in craft labor. Both the sublime experience of the planes’ operation and the obsolete skills required for their maintenance evoke a better, simpler past for these afficionados. Such interactions with the aircraft foster an Industrial Romanticism which manages to embrace the discourse of technological progress as necessary while at the same time preserving a wistful sense that the passing of these piston-engined aircraft meant the loss of their own ability to understand and work on machines. This labor, then, provides for a performance of masculine competence which now escapes them in their daily life. ii Table of Contents Acknowledgments ......................................... p.vii Introduction............................................... p.1 The Project ............................................. p.2 The Anthropology of Technology ........................... p.3 Technology in “American Culture” ........................ p.11 Outline of Chapters ..................................... p.13 Chapter One: The Warbird Movement ....................... p.15 Wartime Production and Postwar Disposition............... p.15 Disposing of Wartime Assets..................................... p.16 Corporate Owners........................................... p.18 Private Owners ............................................. p.21 How “Warbirds” Came About............................ p.23 The Confederate Air Force...................................... p.25 (Mis)Adventures Retrieving Aircraft............................. p.27 Fifi’s Recovery........................................... p.27 The Confederate Air Force? ................................... p.28 Changing the Name....................................... p.30 Who Are the Colonels? ....................................... p.32 Other Warbird Organizations ................................... p.34 Volunteer-Based Warbird Museums ............................. p.36 Private Owners and Wealthy Collectors........................... p.38 Private Owners ............................................. p.38 Wealthy Collectors........................................... p.39 Collecting Strategies ...................................... p.41 Professional Restoration Shops .................................. p.43 Wreckage and Parts .......................................... p.44 The Mechanics and Others in the Shop ........................... p.46 The Hangar............................................ p.48 The Airshow ........................................... p.53 The Living and the Dead........................................ p.53 Constituting the Warbird Movement.............................. p.55 An Overview of Airshows....................................... p.56 Airshow Spaces ............................................. p.57 Performances............................................... p.59 Military Demonstrations ................................... p.60 Warbirds and Reenactments ................................ p.61 Aircraft Tours .............................................. p.64 Audiences.................................................. p.66 Enthusiasts.............................................. p.67 Warbirders and Warbirding .................................... p.68 iii Chapter Two: The Historicity of the Airplanes ................ p.70 Inventing the Enduring Object ............................ p.72 Spreading Out ................................................ p.75 The China Doll ......................................... p.77 The Meaning of China Doll...................................... p.79 The Hangar: Restoring and maintaining the Aircraft ................ p.80 Routine Maintenance ......................................... p.80 The Case of the Tail-Wheel Lock ............................ p.83 Reconstituting Lost Skills .................................. p.89 Restoration Work............................................ p.91 Aircraft Identity .......................................... p.93 Typologies as Tools/Strategies .............................. p.95 Warbird Ontologies....................................... p.99 Authenticity ............................................... p.103 Traces ................................................. p.105 Mimesis, Originality, and Safety ............................ p.108 Authenticity as Invention.................................. p.110 Historicizing the Doll at the Airshow............................. p.111 An Historic Appearance...................................... p.112 The Experiential Contrast with Current Aircraft .................. p.115 War Stories................................................ p.117 Policing CD’s Identity .................................... p.118 The Ambiguity of Historical Reference....................... p.122 Veterans’ Stories ........................................ p.126 Materiality and Memory .................................. p.128 Beyond the CAF....................................... p.130 Authenticity as Competition.................................... p.130 Play, Historicity, and Identity................................... p.132 Churning Airplanes......................................... p.135 Conclusion............................................ p.138 iv Chapter Three: History, Nationalism and Militarism ........... p.139 The Ideal Nation....................................... p.139 The Good War and the Ideal Nation............................. p.140 Shifting the Frame: From Personal to National ................... p.141 The Positive Vision............................................ p.142 The Negative Vision........................................... p.143 Strength Against External Threats.............................. p.144 Unity Against Internal Threats ................................ p.145 Policing Patriotism....................................... p.146 What about “Freedom?” .................................. p.147 Pearl Harbor as a Necessary Catastrophe......................... p.148 Performing History, Producing a Usable Past .............. p.149 “The History”................................................ p.151 Just the Facts versus Being a Good Patriot ....................... p.153 Performing the Ideal Nation.................................... p.154 Authenticating the Performance ............................... p.156 Technocentrism .............................................. p.158 “The History” of Machines................................... p.160 Americans and Their Machines ................................ p.162 When Technological Enthusiasm Outstrips “The History” ................................................... p.164 Machines as America........................................ p.166 The Strength of the Nation................................. p.167 Machines as Agents...................................... p.169 Technological Obviation....................................... p.170 Internal Threats: Obviating Difference .......................... p.172 The Obviation of Violence.................................... p.174 Materializing the War .................................... p.177 The Technological Sublime ................................ p.179 The Usable Past .............................................. p.181 The Lesson of Pearl Harbor .................................. p.182 Militarization of History/“History” as Militarization ............... p.183 Militarization at the Airshow ............................... p.186 Producing Battlespace .................................... p.188 9/11 Was a Failed Pearl Harbor.......................... p.189 Conclusion............................................ p.193 v Chapter Four: Industrial Romanticism ...................... p.194 Progress and Romanticism .............................. p.195 Enthusiasm and Progress ...................................... p.196 Plenty of Progress.......................................... p.197 Displaying Progress: The Heritage Flight ....................... p.198 Rejecting Critiques of Technology............................... p.201 Progress Is Past .............................................. p.203 Warbirds
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