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Documenting Racism 99780826405555_Pre_Final_txt_print.indd780826405555_Pre_Final_txt_print.indd i 11/3/2012/3/2012 44:48:17:48:17 PPMM 99780826405555_Pre_Final_txt_print.indd780826405555_Pre_Final_txt_print.indd iiii 11/3/2012/3/2012 44:48:17:48:17 PPMM Documenting Racism African Americans in US Department of Agriculture Documentaries, 1921–42 J. Emmett Winn 99780826405555_Pre_Final_txt_print.indd780826405555_Pre_Final_txt_print.indd iiiiii 11/3/2012/3/2012 44:48:17:48:17 PPMM Continuum International Publishing Group 80 Maiden Lane, New York NY 10038 The Tower Building, 11 York Road, London SE1 7NX www.continuumbooks.com © J. Emmett Winn, 2012 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the written permission of the publishers. Library of Congress Cataloging-in-Publication Data Winn, J. Emmett (John Emmett), 1959- Documenting racism : African Americans in US Department of Agriculture documentaries, 1921–42 / by J. Emmett Winn. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8264-0555-5 (hardcover : alk. paper) ISBN-10: 0-8264-0555-X (hardcover : alk. paper) 1. African Americans in motion pictures. 2. Racism in motion pictures. 3. Stereotypes (Social psychology) in motion pictures. 4. United States. Dept. of Agriculture. Motion Picture Service. 5. Documentary fi lms--United States--History--20th century. I. Title. PN1995.9.N4W56 2011 791.43’652996073--dc23 2011037680 E ISBN: 978-1-4411-7293-8 Typeset by Newgen Imaging Systems Pvt Ltd, Chennai, India Printed and bound in the United States of America 99780826405555_Pre_Final_txt_print.indd780826405555_Pre_Final_txt_print.indd iivv 11/3/2012/3/2012 44:48:17:48:17 PPMM Contents Preface vi Chapter 1: A Brief History of the USDA Motion Picture Service to 1943 1 Chapter 2: Helping Negroes to Become Better Farmers and Homemakers 13 Chapter 3: The Negro Farmer 36 Chapter 4: Three Counties against Syphilis 62 Chapter 5: Henry Browne, Farmer 85 Chapter 6: USDA Motion Picture Representations of African Americans 107 Notes 131 Bibliography 142 Index 151 99780826405555_Pre_Final_txt_print.indd780826405555_Pre_Final_txt_print.indd v 11/3/2012/3/2012 44:48:17:48:17 PPMM Preface The maintenance and perpetuation of racist beliefs and values in the media ensures that the tenets of racist ideologies are broadly communi- cated and constantly reinforced. The communication of racist ideologies via the media is an important topic for cultural scholars because it is the site of hegemonic struggles over meaning. Cultural studies scholar Stu- art Hall argues that “the media are not only a powerful source of ideas about race. They are also one place where these ideas are articulated, worked on, transformed, and elaborated.” 1 Furthermore, media scholar Jane Rhodes has pointed out that a racist society needs the media to dis- seminate its principles.2 Understanding how racism is encoded in media texts and communicated to audiences in both explicit and implicit ways helps scholars and media consumers to better understand the complex relationship between media and ideology. Commercial fi lmmaking is an important site of study for anyone inter- ested in the perpetuation of racist ideologies concerning African Americans, as negative black stereotypes have been utilized in fi lmmak- ing since its earliest years. 3 Racist representations of African Americans were appropriated from pre-cinematic culture and incorporated into commercial fi lmmaking from the beginning in fi lms such as Uncle Tom’s Cabin (1903), The Confederate Spy (1910), and For Massa’s Sake (1911). The study of historic commercial fi lms is central to understanding how racist ideologies were incorporated into the art and industry of fi lmmak- ing. For example, D. W. Griffi th’s 1915 fi lm, Birth of a Nation, is often identifi ed as both an important fi lm for its impact on moviemaking and a bigoted fi lm that perpetuates racist myths and stereotypes.4 The use of negative stereotypes continued through the golden age of Hollywood in fi lms such as The Ghost Talks (1929), Stand Up and Cheer (1934), and Gone with the Wind (1939) and has continued into the contemporary era in such movies as The Color Purple (1985) and Mississippi Burning (1988). 5 Indeed, Hall explains that versions of classic racist black stereotypes per- 6 sist in the media today. The continued interrogation of media texts both 99780826405555_Pre_Final_txt_print.indd780826405555_Pre_Final_txt_print.indd vvii 11/3/2012/3/2012 44:48:17:48:17 PPMM Preface vii current and historic is important as scholars strive to understand and explain how racist beliefs and values are created and naturalized via com- munication in the media.7 However, in the early years of cinema not all motion picture producers were interested in the commercial aspects of fi lm; many of them—for example, professional organizations, civic groups, local and state govern- ing bodies, and the federal government—wanted to make movies for noncommercial purposes. These early noncommercial moviemakers saw the potential in fi lm to communicate their messages to audiences who were eager to see this new source of entertainment and information. Fur- thermore, the power to move audiences emotionally through the fi lmic representation of events and stories appealed to noncommercial fi lm- makers who were intent on winning public support for their interests. For example, Stephen J. Ross describes how labor and trade unionists from 1907 to 1929 used motion pictures to “portray their cause visually.”8 Thus many groups with an interest in using fi lm as a medium to encour- age change and/or propaganda embraced fi lmmaking in its early years. Eventually various political and socioeconomic factors collided to greatly curtail fi lmmaking by noncommercial fi lmmakers. However, sev- eral groups, including government agencies, continued to make movies for causes ranging from education to propaganda. The US Department of Agriculture (USDA) was one of the earliest agencies to produce fi lms, and it did so for decades after the demise of many other noncommercial ventures. 9 Millions of people saw these free fi lms in a wide variety of ven- ues, including public schools, colleges and universities, civic meeting halls, libraries, church halls, and even open fi elds. Over the period of several decades, from the silent-movie era through the 1950s, the USDA was a signifi cant government fi lmmaking organization, touting itself to be not only the fi rst government agency to organize a fi lmmaking divi- sion but also the most prolifi c. The USDA motion picture branch was internationally respected, and the distribution of its fi lms was high for US government institutions, particularly in the 1920s and 1930s. The USDA showed its fi lms practically anywhere extension workers or others could gather a small group or a large crowd. In fact, for many Americans in the early 1900s, the USDA fi lms were the fi rst motion pictures they saw, and the experience of watching USDA-made fi lms was shared by mil- lions in the United States and around the world. 10 The role of the fi lms varied, but the USDA saw all of its fi lms as simultaneously entertaining audiences, in the broad sense of the term, while spreading the USDA’s 11 message and encouraging people to fi nd out more about its work. 99780826405555_Pre_Final_txt_print.indd780826405555_Pre_Final_txt_print.indd vviiii 11/3/2012/3/2012 44:48:17:48:17 PPMM viii Preface Given the number of fi lms that the USDA made, the size of its audi- ences, and the longevity of the USDA’s Motion Picture Service, a surpris- ing lack of scholarly attention has been devoted to the study of these fi lms despite the fact that the department’s “fi lms on scientifi c and tech- nical subjects, forestry and fi re prevention, agricultural education and soil conservation have been a responsibility which has served the people well.” 12 Even less research has been done on the representations of Afri- can Americans in Department of Agriculture fi lms. For example, in his important book The Negro in Films, Peter Noble mentions only one of the USDA fi lms devoted to African Americans, Henry Browne, Farmer (1942), 13 even though African Americans appeared in USDA fi lms in the 1920s and 1930s as well. The USDA fi lms made in the 1920s, 1930s, and 1940s that focus on blacks generally have escaped comprehensive analysis by scholars concerned with African American representations in fi lm.14 Purpose and Scope The current study addresses this situation by explicating the racist ide- ologies communicated through USDA motion pictures made from the 1920s through 1942. In this book I analyze the four major USDA motion pictures that focus on African Americans: Helping Negroes to Become Better Farmers and Homemakers (1921),15 The Negro Farmer (1938), Three Counties against Syphilis (1938), and Henry Browne, Farmer (1942). My purpose is to explicate the representation of African Americans in these fi lms within the racist ideologies of the period. Each analysis includes an in-depth investigation of the reality created by the fi lmmakers, the motion pic- ture’s use of stereotypes, the rhetorical message communicated, and a discussion of each fi lm’s relationship to broader racist ideologies. Finally, I build on the individual analyses to clarify how the motion pictures as a whole communicate the racist ideology that African Americans are infe- rior and a threat to white society. It is important to note that this study is limited in its scope to the analy- sis of fi lmic texts and the supporting documentation available in the USDA archives and other sources. Thus, it is impossible for this scholar- ship to make broad general comments concerning the USDA or its pro- grams, staff, or administrators beyond what the analysis supports.
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