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An Alternative View of the Thirties: the Industrial Photographs of Lewis

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An Alternative View of the Thirties: the Industrial Photographs of Lewis DOCUMENT RESUME ED 204 770 CS 206 418 AUTHOR Smith, C. Zoe TITLE An Alternatite View of theThirties: The Industrial Photographs of Lewis Wickes Hineand Margaret Bourke-white. P7B DATE Aug B1 Annual Meeting of the NOTE 17p.: Paper presented at the Association for Education inJournalism (64th, East Lansing, MI, August 9-11,19B19. Some pages may not reproduce clearly. FOPS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Comparative Analysis: Industrialization:0Industry: Journalism: *Laborers: *Machine Tools:*Photography: *United States History (Economic 19291: IDENTIFIERS *Bourke White (Margaret) : Depression *Hine (Lewis Wickes): Photolournalism ABSTRACT The photographs of MargaretBourke-White and Lewis Wickes Hine are graphic accountsof the urban. industrialUnited States during the Depressionof the 1930s. Hine was asociologist who initially used his camera to promotesocial reform and is best remembered for his photographs ofimmigrants at Ellis Island, New York, and of children laboringin coal mines and textilemills. He later concentrated hisphotography on Americans on the job, especially when that lob meantworking with machinery, hoping to, depict the true dignity andintegrity of labor. Documentingwhat was good about laborers--theircontrol over themselves and their machines, and the dependence of onelaborer upon another--motivated his earlier work. MargaretBourke-White was more intrigued by architecture and industry, althoughshe photographed a variety of subi7ts during her career with"Fortune" and "Life" magazines. Bourke-White seemed not to haveappreciated or understood the worker's relationship toindustrialized society. To her, machines were a series ofbeautiful Patterns to which sheattributed human oualit.les. In her photographs, hiamansmerely served as reference no!nts from which to -judge thetremendous size of machines. Her lack of cum7assion in theseearly industrial photographs iswhat clearly distinguishes her work from thatof Hine.(HTH1 ********************************************************************o Reproductions supplied by EDRS arethe best that can be made from the original document. ********************************************************************4 U.S. DEPARTMENT OF EDUCATION NATIONAL INSTITUTE OF EDUCATION EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) yefThisdocument has been reproduced as received from the person or organization originating it. Minor changes have been made to Improve reproduction quality. Points of view or cloinions stated in this (i0Cll ment do not nece,artly represent official NIE position or policy. AN ALTERNATIVE VIEW OF THETHIRTIES: AND MARGARET BOURKE-WHITE THE INDUSTRIAL PHOTOGRAPHSOF LEWIS WICKES HINE by C. Zoe Smith Marquette University REPRODUCE THIS "PERMISSION TO MATERIAL HAS BEENGRANTED BY RESOURCES TO THEEDUCATIONAL INFORMATION CENTER(ERIC)." Education Presented to the Photojournalism vision of the Association for 9-11, 1981. in Journalism, Annual Convention,East Lansing, Michigan, August 1)0 .9 ) The depression has made usacutely aware of the fact that our brillianttechnological skills are shackled to the shambling gaitof an institutionalCaliban. --Robert Lynd' different ways The tumultuous Thirtieshave been described in many this by many different writers in manydifferent disciplines, and history seem super- intensive scrutiny has madethis decade in American documented real: a time so talkedabout, so carefully analyzed, so (pictorially), that it ne.;rly ceases tobe a part of our experience. myth, a symbol for In one sense, the Thirtieshave become a legend, a something greater than itself. for many For those who did not livethrough those times (and even images of who did), there are severalimportant sources from which The Grapes of 4rath, or that era are drawn. For many, John Steinbeck's Dashiell Hammett's Horace McCoy's They ShootHorses, Don't They? or the Thirties. The Maltese Falcon provide amemorable view of life in Security Of course, images from thePhotographic Unit of the Farm Administration (FSA) are powerful sourcesfor the vision of the Mother," Depression held by many Americans. Dorothea Lange's "Migrant Cabin Washroom' Arthur Rothstein's "Oust Bowl,"and Walker Evan's "Alabama from that time. are among the mostwidely published photographs Although these photographs ofAmerican life during the Thirties straightforward- have received and continue toreceive acclaim for their ness and Wauty,it must be remembered that theFSA photographers' The portraits of primary task was to documentrural life at that time. 2 America which Lange, Evens, Rothstein, Russell Lee, BenShahn, Marion Post Wolcott, John Vachon, Jack Delano, CarlMydans, and others made during the course of the FSA's seven year existence served manyuseful purposes; however, these images do notspeak to the entire Depression of Era. Conspicuously absent from most of the FSA work is an account urban/industrial America, which can be found in the photographsof Margaret Bourke-White (1904-1971) and Lewis WickesHine (1874-1940). Nevertheless, it was through such efforts as those of the Photographic Unit of the FSA that photography "came of age"during the Thirties. In an attempt to understand American culture,photography became recognized as a tool for documenting the lives andvalues of the American people. Of course, mass reproduction of photographic Images had been technically possible since the halftone process wasfirst employed by the New York Daily Graphic in 1880, but, aswith most technological developments, it took time to learn to successfully employ this new tool. The Thirties saw the evolution of the "talkies," the BigBands, the fire-side chats of President Roosevelt, radio soap operas, and news- reels. American's growing depeAdence upon the mass media for knowledge of their lives and the lives of others brought about a new interestin photographic images. Even people who could not read could look at photographs. With the Thirties came a new interest and reliance upon both sight and sound. Technological developments, such as the Leica ("candid camera") and the Contax, lenses that were faster and interchangeable, andflashbulbs A 3 easier. that were smokeless and silent,made picture-making considerably i, more possible for It is curious thattechnological developments made industrialization Americans to-document an eratrouble by the fai-- .dio, films, and technological achievements.With the help ry popular in newspapers, and magazines(illustrated magazines L read about the late Thirties }, Americans wereable to see, hear, being the victims of the MachineAge. In other words, machines were quality of used to report on the effect ofother machines upon tie American life. Many Americans of the Thirties now wereable to feel themselves a adversely part of others' experiences,to know that many others were With so many people affected by the mechanization ofindustry as well, scrutiny by the out of work, industry andthe government came under and the machine appeared public. Articles concerning technology and man Depression,2 pointing out in various middle-class magazinesduring the the that industrial production wasincreasing despite the fact that number of wage earners was decreasing. As Archibald MacLeish pointed out: It became apparent thatindustrialism was moving toward a degree of mechanizationin which fewer and fewer men need be, or indeed could be,employed...the direction of growth of industrialism haschanged, our civilization has turned a corner, and theancient conception of human work as the basis of economicexchange and of the right to live is obsolete, sincethe work of machines and the conversion of nonhuman energytake the human place. Despite this great concern withurban industrialization and mechanization, the photographs of theThirties which address these very 4 While the FSA images issues usually are not rememberedby the public. by predominate the popular thinkingabout the Depression, photographs which Bourke-White and Hine offer analternative view of the Thirties Hine enjoy con- warrants attention. Although both Bourke-White and siderable eminence as great Americanphotographers, their images or the steel mills, skyscrapers, dams,bridges, and factories from for most. Depression Era are not necessarilywhat they are remembered the Bourke- It is not the purpose ofthis paper to speculate why photographers; White and Hine images are not aspopular as those of the FSA industry, instead, the issue is whyBourke-White and Hine photographed and how their celebrationof America's industrialization differed. in 1905 Hine, a native of Oshkosh,Wisconsin, began photographing Culture School while teaching botany and naturestudies at the Ethical Normal School, the in New York City. Having studied at Oshkosh received a University of Chicajo, andColumbia University (where he to promote Pd.M. in 1905), Hine was asociologist who used his camera photographs of immigrants social reform. Although best known for his in coal mines and at Ellis Island, andchildren laboring for pennies American textile mills, Hine also photographedthe activities of the of life in Red Cross in Europe duringWorld War I, the lighter side Building Army and Navy camps, and theconstruction of the Empire State Throughout much of his career in New York City in the earlyThirties. the job," especially as a photographer,Hine concentrated on "the man on mines, when that job meant workingwith machinery, such as in coal sites, glass textile mills, power plants,railroad yards, construction 5 and airplane factories, powerhouses, and on the docks at the waterfront. For
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