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Lewis Hine and „Social Photography‟

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Lewis Hine and „Social Photography‟ The Narrative Document: Lewis Hine and „Social Photography‟ By Kathy A. Quick B.F.A., University of Connecticut, 1989 M.A.L.S., Wesleyan University, 1994 M.A., University of Massachusetts Amherst, 2001 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of the History of Art and Architecture at Brown University Providence, Rhode Island May 2010 © Copyright 2010 by Kathy A. Quick This dissertation by Kathy A. Quick is accepted in its present form by the Department of the History of Art and Architecture as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date__________ ________________________________________ Mary Ann Doane, Advisor Recommended to the Graduate Council Date__________ ________________________________________ Douglas R. Nickel, Reader Date__________ ________________________________________ Dian Kriz, Reader Approved by the Graduate Council Date__________ ________________________________________ Sheila Bonde, Dean of the Graduate School iii Abstract of “The Narrative Document: Lewis Hine and „Social Photography‟” by Kathy A. Quick, Ph.D., Brown University, May 2010 Lewis Hine employed a variety of narrative strategies to create a persuasive and moving „social photography‟ in the early twentieth century. Despite the longstanding supposition within the history of photography that the categories of documentary and narrative are incompatible, this investigation looks at how Hine cultivated, rather than suppressed narrative in his documentary work. Documentary has often been associated with unmanipulated authenticity and with the unmediated transcription of reality. Unlike the concept of narrative which is virtually inseparable from that of fiction, documentary is tied to a belief in the camera‟s ability to present empirical evidence or facts. The idea of storytelling itself would seem to undermine the documentary goal of an unmediated presentation of fact, and yet, it was Hine who coined the term “photo story” to describe his work. This study examines how Hine constructed pictorial narratives by adopting a number of cinematic devices. In many of the photographs that he produced for the National Child Labor Committee (NCLC), Hine utilized a melodramatic mode of narration. Melodrama offered not only a means through which he could tell the story of child labor, but it was also a means through which he could attempt to „move‟ his viewer emotionally. For Hine, the most effective images were the ones that tugged at the viewer‟s heartstrings and aroused sympathy for his subject. This study looks at how narrative functions in both the internal composition of the image and the viewer‟s apprehension of the image. This study also looks at how Hine moved his viewer visually and conceptually through space in his photographic series by using the editing techniques of early filmmakers. Although photographic and cinematic histories have emphasized iv photography‟s effect on film, Hine reverses this tendency. This investigation provides a critical and long overdue analysis of the narrative aspects of Hine‟s work and the impact of film on his documentary photography. v ACKNOWLEDGMENTS There are many people who have supported my academic pursuits over the years. At the top of my list is Professor Kermit Champa who allowed me to begin this journey in the fall of 2001. Although he passed away before my research started, it was a comment about narrative that he scribbled on my qualifying paper that became the impetus for this investigation. Professor Champa‟s enthusiasm for photography and his encouragement of my work have guided this entire project. I am also indebted to Professor Mary Ann Doane who generously stepped in as my head advisor. This dissertation is the result of her willingness to let me pursue questions that bridge traditional photographic and cinematic histories. Professor Doane‟s knowledge of film history and criticism has been instrumental in shaping this study from its inception. It has been a privilege to work with her and to draw on her expertise. I am also indebted to Professor Dian Kriz for her thoughtful criticism at every stage of this project. She always added a new perspective to the discussion. I am grateful too for her kindness in helping me reconfigure my dissertation committee after Champa‟s passing. Although he signed on a bit later, Professor Douglas Nickel contributed greatly to my understanding of Hine and his place within photographic histories. I appreciate the clarity and insight with which he approached my topic. During the preliminary stages of this project I looked at a number of photographic collections including those at the George Eastman House International Museum of Photography and Film in Rochester, New York, the New York Public Library on Fifth Avenue, as well as the Museum of the City of New York. I would especially like to vi thank Anne Morra, the Assistant Curator in the Department of Film at The Museum of Modern Art in New York for allowing me to have framed enlargements made from Edison‟s Children Who Labor. This required shipping the film to Washington D. C. I would also like to thank Margaret Kieckhefer, the Senior Search Examiner at the Library of Congress for processing my request so quickly. Lastly, I would like to express my deepest gratitude to my family for their support of this endeavor. I would not have been able to complete this degree had it not been for my grandmother Grace who believed strongly that women should be educated, my mother who taught each of her children that “if you can read, you can do anything,” and my father who was the first to inspire my love of photography with his famous slide shows. Of course, I am most indebted to my son Bryan who has always been my greatest teacher. vii TABLE OF CONTENTS List of Figures p. ix Introduction p. 1 Chapter One – A „Social‟ Photograph p. 24 Chapter Two – The „Moving‟ Picture: Muckraking and Melodrama p. 50 Chapter Three – Narrative Spaces p. 98 Conclusion p. 136 Bibliography p. 140 Images p. 149 viii LIST OF FIGURES Fig.1 – Lewis Hine, NCLC poster, “Making Human Junk,” c.1908 Fig.2 – Lewis Hine, Doffer photograph, published in “Child Labor in the Carolinas (1909)” Fig.3 – Photograph of a shipwreck, photographer unknown, in Disaster Log of Ships by Jim Gibbs, Seattle: Superior Publishing, 1971. Copyright holder unknown. Fig.4 – A film still from Children Who Labor (Edison, 1912). Produced by the Edison Company in cooperation with the National Child Labor Committee. Directed by Ahsley Miller. Image courtesy The Museum of Modern Art, New York. Fig.5 - A film still from Children Who Labor (Edison, 1912). Produced by the Edison Company in cooperation with the National Child Labor Committee. Directed by Ahsley Miller. Image courtesy The Museum of Modern Art, New York. Fig.6 - A film still from Children Who Labor (Edison, 1912). Produced by the Edison Company in cooperation with the National Child Labor Committee. Directed by Ahsley Miller. Image courtesy The Museum of Modern Art, New York. Fig.7 - A film still from Children Who Labor (Edison, 1912). Produced by the Edison Company in cooperation with the National Child Labor Committee. Directed by Ahsley Miller. Image courtesy The Museum of Modern Art, New York. Fig.8a – Sample of a full page in “What Bad Housing Means to Pittsburgh (March 7, 1908),” published in Charities and The Commons. Fig.8b – Lewis Hine, Saw Mill Run photograph in “What Bad Housing Means to Pittsburgh (March 7, 1908),” published in Charities and The Commons. Fig.9 – Lewis Hine, Soho Drainage photograph in “What Bad Housing Means to Pittsburgh (March 7, 1908),” published in Charities and The Commons. Fig.10 - Lewis Hine, Alley Dwellings photograph in “What Bad Housing Means to Pittsburgh (March 7, 1908),” published in Charities and The Commons. Fig.11 - Lewis Hine, Yard of Alley Dwellings photograph in “What Bad Housing Means to Pittsburgh (March 7, 1908),” published in Charities and The Commons. Fig.12 - Lewis Hine, Tammany Hall photograph in “What Bad Housing Means to Pittsburgh (March 7, 1908),” published in Charities and The Commons. ix Fig.13 - Lewis Hine, Tammany Hall photograph in “What Bad Housing Means to Pittsburgh (March 7, 1908),” published in Charities and The Commons. Fig.14 - Lewis Hine, Tammany Hall photograph in “What Bad Housing Means to Pittsburgh (March 7, 1908),” published in Charities and The Commons. Fig.15 - Lewis Hine, Tammany Hall photograph in “What Bad Housing Means to Pittsburgh (March 7, 1908),” published in Charities and The Commons. Fig.16 - Lewis Hine, In The Soho District photograph in “What Bad Housing Means to Pittsburgh (March 7, 1908),” published in Charities and The Commons. Fig.17 - Lewis Hine, Rear Of A Soho Tenement photograph in “What Bad Housing Means to Pittsburgh (March 7, 1908),” published in Charities and The Commons. Fig.18 – Chart in “What Bad Housing Means to Pittsburgh (March 7, 1908),” published in Charities and The Commons. x INTRODUCTION The early twentieth-century documentarian, Lewis Hine, employed a variety of narrative strategies to create a persuasive and moving „social photography.‟ Despite the longstanding supposition within the history of photography that the categories of documentary and narrative are incompatible, this investigation will look at how Hine cultivated, rather than suppressed narrative in his documentary work. Documentary has often been associated with unmanipulated authenticity and with the unmediated transcription of reality. Unlike the concept of narrative which is virtually inseparable from that of fiction, documentary is tied to a belief in the camera‟s ability to present empirical evidence or facts. The idea of storytelling itself would seem to undermine the documentary goal of an unmediated presentation of fact, and yet, it was Hine who coined the term “photo story” to describe his work. For Hine, the narrative essay was a more convincing essay.
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