FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W1984215468> ?p ?o ?g. }

• W1984215468 endingPage "202" @default.
• W1984215468 startingPage "197" @default.
• W1984215468 abstract "Familiar and Foreign Bodies in 1930s Photographs of the South Stuart Kidd During the Great Depression of the 1930s, the South and its people were magnets for creative intellectuals from outside the region. As the North Carolina journalist Jonathan Daniels reflected, “almost as many visitors want to see a tenant farmer as to behold an azalea” (598). The Federal Government was the source of much of this interest because it supplemented its economic and social programs with aggressive publicity intended to convince taxpaying Americans to support programs on behalf of groups—blacks, poor whites, small farmers—whose cultural status was as blighted as their living conditions. For the New Deal, the South was a stage and a setting for cultural recuperation as well as material rehabilitation.1 Over 13,000 photographs were taken of the South and its citizens between 1935 and 1942 by the Resettlement Administration and Farm Security Administration. Directed by Roy E. Stryker, over twenty photographers worked in the South, including luminaries such as Walker Evans, Dorothea Lange, and Ben Shahn. For many of them, the South—like the entire American heartland— was terra incognita. Most of Stryker’s photographers lived and worked in the metropolitan centers of the east and west coasts of the United States. Boston-born Carl Mydans commented, “I lived in an isolated world. Vaguely there was a great river called the Hudson, and a great bit of land at the other side of the Hudson, but I knew very little about it.” Government employment not only broadened the photographers’ horizons, it fired their imaginations. For photographers who lived and worked in environments of mass and motor, in the shadows of the recently constructed Rockefeller Center and Empire State Building, the state of Mississippi and the southern region of which it was a part were foreign places. Photographers were intrigued by the simplicity, personalism, and strength of community that they encountered south of the Mason-Dixon Line. The pre-modern character of the South and the poverty of many of its people made the region even more intriguing. To the photographers, suffering and hardship became prerequisites of character. Jack Delano reflected that “[T]he toil and drudgery and the constant battle for survival do bestow a kind of beauty on the human face and figure to which artists [End Page 197] have always been sensitive” (Day 126). Ben Shahn recalled finding people “a constant pleasure” during the 1930s, especially “the poor who were rich in spirit” and who maintained “a transcendent indifference to their lot in life” (134). Reproduced in the national media, images of the South’s poor not only reflected the New Deal’s determination to undertake remedial action, but they also affirmed more positive values. As cultural symbols, “the common man/woman” in the South served as icons of New Deal populism. Embodying qualities of nobility and fortitude, the so-called “cult of the people” symbolized the New Deal’s liberal politics, registered its efforts to “democratize” American politics and culture, and also signified a national yearning for stability and consensus in a turbulent era. As national icons, the South’s underprivileged appeared in the press under sensational banner headlines such as “Poverty’s Pioneers” and “Uncensored Views of Sharecroppers’ Misery.” However, their foreignness also allowed the southern poor to be rendered as picturesque rather than problematic. In an era when regionalist painting was so influential, it should not be surprising that the FSA’s work was often construed as a celluloid equivalent of the fine art perspectives of Grant Wood, John Stewart Curry, and Thomas Hart Benton. Consequently, the Appalachian poor, photographed by Arthur Rothstein in 1935, became objects of rustic charm in local color features entitled “Out in the Country” or “Along the Highway.” While symbolizing a vanishing, idiosyncratic America, these photographs also represented cultural continuity and the nation’s heritage. They were, according to the Washington Post, “100% quaint as well as 100% American” (Kidd). By the end of the decade, through constant media recognition and reinvention, the South’s poor had become familiarized to the point where they had become a part of the rich mosaic of American life in the era of liberal politics and..." @default.
• W1984215468 created "2016-06-24" @default.
• W1984215468 creator A5045499689 @default.
• W1984215468 date "2009-01-01" @default.
• W1984215468 modified "2023-10-17" @default.
• W1984215468 title "Familiar and Foreign Bodies in 1930s Photographs of the South" @default.
• W1984215468 cites W171999502 @default.
• W1984215468 cites W573865021 @default.
• W1984215468 doi "https://doi.org/10.1353/ewr.2009.0000" @default.
• W1984215468 hasPublicationYear "2009" @default.
• W1984215468 type Work @default.
• W1984215468 sameAs 1984215468 @default.
• W1984215468 citedByCount "1" @default.
• W1984215468 crossrefType "journal-article" @default.
• W1984215468 hasAuthorship W1984215468A5045499689 @default.
• W1984215468 hasConcept C138885662 @default.
• W1984215468 hasConcept C159390177 @default.
• W1984215468 hasConcept C17744445 @default.
• W1984215468 hasConcept C199539241 @default.
• W1984215468 hasConcept C2776003135 @default.
• W1984215468 hasConcept C2777944147 @default.
• W1984215468 hasConcept C2778137410 @default.
• W1984215468 hasConcept C2780765947 @default.
• W1984215468 hasConcept C2781231848 @default.
• W1984215468 hasConcept C39432304 @default.
• W1984215468 hasConcept C41895202 @default.
• W1984215468 hasConcept C52119013 @default.
• W1984215468 hasConcept C95457728 @default.
• W1984215468 hasConceptScore W1984215468C138885662 @default.
• W1984215468 hasConceptScore W1984215468C159390177 @default.
• W1984215468 hasConceptScore W1984215468C17744445 @default.
• W1984215468 hasConceptScore W1984215468C199539241 @default.
• W1984215468 hasConceptScore W1984215468C2776003135 @default.
• W1984215468 hasConceptScore W1984215468C2777944147 @default.
• W1984215468 hasConceptScore W1984215468C2778137410 @default.
• W1984215468 hasConceptScore W1984215468C2780765947 @default.
• W1984215468 hasConceptScore W1984215468C2781231848 @default.
• W1984215468 hasConceptScore W1984215468C39432304 @default.
• W1984215468 hasConceptScore W1984215468C41895202 @default.
• W1984215468 hasConceptScore W1984215468C52119013 @default.
• W1984215468 hasConceptScore W1984215468C95457728 @default.
• W1984215468 hasIssue "1" @default.
• W1984215468 hasLocation W19842154681 @default.
• W1984215468 hasOpenAccess W1984215468 @default.
• W1984215468 hasPrimaryLocation W19842154681 @default.
• W1984215468 hasRelatedWork W2358821302 @default.
• W1984215468 hasRelatedWork W2361067053 @default.
• W1984215468 hasRelatedWork W2363226599 @default.
• W1984215468 hasRelatedWork W2364173785 @default.
• W1984215468 hasRelatedWork W2369821582 @default.
• W1984215468 hasRelatedWork W2386017652 @default.
• W1984215468 hasRelatedWork W2387293884 @default.
• W1984215468 hasRelatedWork W2393428685 @default.
• W1984215468 hasRelatedWork W2410403994 @default.
• W1984215468 hasRelatedWork W2899084033 @default.
• W1984215468 hasVolume "1" @default.
• W1984215468 isParatext "false" @default.
• W1984215468 isRetracted "false" @default.
• W1984215468 magId "1984215468" @default.
• W1984215468 workType "article" @default.