The Commodification of American Urban Disaster, 1861-1906
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W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Ruins Reframed: The Commodification of American Urban Disaster, 1861-1906 Zachary Michael Hilpert College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Hilpert, Zachary Michael, "Ruins Reframed: The Commodification of American Urban Disaster, 1861-1906" (2014). Dissertations, Theses, and Masters Projects. Paper 1539720327. https://dx.doi.org/doi:10.21220/s2-em77-7a13 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. 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Ruins Reframed: The Commodification of American Urban Disaster, 1861-1906 Zachary Michael Hilpert Vermillion, South Dakota Master of Arts, Bowling Green State University, 2006 Master of Science, Northern State University, 2005 Bachelor of Arts, University of Minnesota - Twin Cities, 2002 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program The College of William and Mary August, 2014 APPROVAL PAGE This Dissertation is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Zachary Miehael Hilpert Approved by the Committee, June, 2014 Cornmittee Chair Associate P/bfessdr Charles McGovern, American Studies The Cettege of William & Mary Associate Professor Alan Braddock, American Studies The College of William & Mary Associate Professor Hiroshi Kitamura, History The College of William & Mary ABSTRACT This dissertation explores images of urban disaster and related events produced from the Civil War to the dawn of the 20th century, seeking to understand the role such visual media played in the formation of American identity and racial perceptions. Images of disasters that appeared throughout this period demonstrate a desire on the part of a largely white, native-born consumer class to share in a collective grieving process, one that initially recalled the comforts found in the communal suffering of the Civil War, but habitually eschewed the most tragic elements in favor of an optimistic, nationalistic narrative free of lasting trauma. Out of this desire for mutual grieving and recovery emerged a market for tokens of palatable tragedy in the final decades of the nineteenth century. This market was fed by a growing industry of disaster commodification that co-opted urban destruction in the service of an ultimately white supremacist formulation of American identity. These images gave consumers the ability to experience disaster and loss remotely, in more immediate and vivid ways than news reports or letters. Yet a line of acceptability was drawn in the process of commodifying these disasters, and resulted in a wealth of imagery that tells a far different - and far more hopeful - story of each disaster than the death tolls and oft ignored tales of costly human error could ever have crafted. The images instead create a fantasy narrative of disasters and aftermaths firmly under human control, and a racist, ultra- nationalistic view of the world in which white Americans are challenged by adversity, but always persevere to construct a new and better world - often in spite of the efforts of the racialized monsters in their midst. TABLE OF CONTENTS Acknowledgements ii Dedications iv Introduction Creating an Aesthetic of Urban Disaster in the 19th Century United States 1 Chapter 1. “Unearthly, hideous, terrific”: The Civil War and the Dawn of Modem Disaster Imagery 41 Chapter 2. The Great Chicago Fire and the Rise of an Aesthetic of Calamity 79 Chapter 3. “A Carnival of Slaughter”: The Johnstown Flood, Industrial Monsters (Real and Imagined), and the Theater of the Macabre 109 Chapter 4. “The Dreadful Burden of the Dead”: Death, Life, and Race after the Galveston Hurricane of 1900 143 Chapter 5. New Monsters: The Audience Joins the Image Makers among the Ruins of 1906 San Francisco 178 Conclusion 221 Appendix 229 Bibliography 366 i ACKNOWLEDGEMENTS A project such as this begins as the idea of a solitary individual, but very quickly becomes a communal effort. My particular experience has been no exception. Everyone listed below, and the many more who have joined me during this process, share in the successes of this work. As for any mistakes, oversights, and shortcomings, I alone am responsible. My advisor and dissertation committee chair, Charles McGovern, has been a source of so much insight and support along the way, and I humbly offer him my greatest thanks. Charlie’s expert guidance and assistance has helped me to see new avenues of inquiry for my project that I never could have discovered on my own. My committee of Alan Braddock and Hiroshi Kitamura at William & Mary, and Scott Sandage at Carnegie Mellon University, all stepped in during the final stages to provide invaluable critiques, questions, and suggestions for my work, and I thank them each for their generous efforts. Many other faculty members at William & Mary have lent their own insights and expertise in conversations throughout this process; I would like to thank, in particular, professors Chandos Brown, Arthur Knight, Leisa Meyer, and Maureen Fitzgerald for the time they have spent with me in meetings and conversations regarding this project over the past six years. Thank you, as well, to the Executive Council of the American Studies Program at William & Mary for financial support in the form of much appreciated research travel grants. The research for this dissertation has led me to numerous archives across the country, and in each one I have found knowledgeable staff eager to help advance my work. For their insights, their energetic assistance, and their dedication to the vital archives for which they care, I thank the following people and the institutions they represent: Jeff Bridges and the Reference Section staff at the Library of Congress Prints and Photographs Division; Robin Rummel and Dan Ingram of the Johnstown Area Heritage Association and the Johnstown Flood Museum; Thomas Carey and the staff of the San Francisco Public Library’s San Francisco History Center; Mary Morganti, Wendy Welker, Alison Moore and the reference staff of the California Historical Society Library and Archives; David Haberstich of the Smithsonian National Museum of American History’s Archives Center; Robert Glass of the National Archives and Records Administration-Pacific Region, the reading room staff and archivists of the Bancroft Library at the University of California-Berkeley; the staff of the Research Center at the Chicago History Museum; and the staff of the Harold Washington Research Center at the Chicago Public Library. Thank you, as well, to Doug Owlsey and Kari Bruwelheide of the Smithsonian National Museum of Natural History’s Physical Anthropology Division for their assistance in interpreting a particularly gruesome photo of a Johnstown flood victim, and to my graduate student colleague Tonia Deetz Rock for putting me in touch with them. My work received an early and immensely beneficial boost from the Social Science Research Council in the form of a Dissertation Proposal Development Fellowship during the spring and summer of 2008. Along with generous financial support from the SSRC, I received invaluable guidance from Urban Visual Studies field directors M. Christine Boyer and Edward Dimendberg, and support and suggestions from other fellows in my field, including Jennifer Boles, Mona Damluji, Bridget Gilman, Max Hirsh, Nathan Holmes, Alfredo Rivera, Annis Sengupta, Joshua Soliere, Sara Stevens, Jia Tan, and Alla Vronskaya. Thank you, as well, to Steven Neal Profitt and Emily Cincinnati for their efforts in managing and organizing the fellowship and its related workshops. Many friends have helped along the way. Among them, Jason Kirby has been an ever-present study partner, emotional supporter, example of dedication, and all- around great friend. Srin Chakravorty has always been there to talk me through the most stressful moments. Ben Anderson has been an eager partner in commiseration. Kevin Kosanovich spent many an evening talking out ideas with me during our time together in the Keio Program. Sarah Glossen, Jenna Simpson, Ben, and Kevin also participated in a dissertation support group that provided great feedback for a number of my chapters. Through all of the years I’ve worked toward my Ph.D., my parents, Pat and John Hilpert, have encouraged me to follow my curiosity, wherever it took me. Their encouragement, assistance (emotional and financial), and guidance have propelled me forward through every stage of this process. Whatever success I achieve is thanks in no small part to their love and support. Finally, this journey has only gotten better since my partner and soon-to-be wife, Sandy Flemming, has come into my life. Her love, friendship, and support over the last four years have made my completion of this work possible. Thank you, sweetheart. To Sandy and Henry, who always welcome me home with love. Introduction: Creating an Aesthetic of Urban Disaster in the 19th Century United States This dissertation explores images of urban