Child workers were usually immigrants or from poor families that moved to America’s industrial cities in recent years. In 1870 the U.S. census first started recording child labor statistics and reported about 750,000 child workers not counting those who worked for their family on their farm or business. By 1911 the census reported there were over 2 million children under the age of 15 working long and hard hours for low pay.
Reformers and labor advocates called for an end to cruel child labor practices. They wanted a better lives for child workers who were trapped in lives of poverty and misery with no opportunities to improve their lives. One of the most influential reformers was a New York City photographer named Lewis Hines. Hines worked for the National Child Labor Committee photographing child laborers and writing reports on their working and living conditions that shocked the American public.
Hines often had to sneak his photographs and reports, tricking his way into factories and covertly interviewing children while scribbling notes with his hand hidden in his pocket. The results, as you can see below, are powerful depictions of the face of child labor. Congress responded to Hines’ work (and the public’s shocked response) by passing the Keating-Owens Act in 1916 that created minimum working ages and made conditions much more bearable for child laborers. By 1920 there were about half as many child workers as there had been a decade earlier. Continue reading “Messengers of a Cruel Society: Lewis Hines Photographs of Child Telegraph Messengers”
“Puppies are tractable when rightly understood, but the kitten is the most versatile animal actor, and possesses the greatest variety of appeal.”
Harry Whittier Frees was a Pennsylvania native and creator of novelty animal postcards in the early 1900s. He is best known for his photographs of kittens and puppies dressed up and acting out human scenes.
“My first photograph of [Watson] was unsubtle. I overdid it and posed her. Grant Wood style, before the American flag, a broom in one hand, a mop in the other, staring straight into the camera… I followed her for nearly a month- into her home, her church, and wherever she went.”
“She began to spill out her life’s story. It was a pitiful one. She had struggled alone after her mother had died and her father had been killed by a lynch mob. She had gone through high school, married and become pregnant. Her husband was accidentally shot to death two days before their daughter was born. By the time the daughter was eighteen, she had given birth to two illegitimate children, dying two weeks after the second child’s birth. What’s more, the first child had been stricken with paralysis a year before its mother died.”
When I usually think of World War II propaganda, I usually think positive. American propaganda- in the form of posters, articles, radio broadcasts, and films- were no exception. Slogans like “We can do it!” or “Give it your best!” come to mind. Its easy to find colorful examples of propaganda providing encouragement and positive examples of working hard, achieving victory, and being the best you can be. But this isn’t the whole story. Propagandists also used scare-tactics and images of death and destruction to warn Americans away from bad habits and poor decision making. The war could be won by hard work on the home front, but it could also be lost by mistakes too.
It wasn’t long after motion pictures were invented before film makers realized that a film was not just an ordinary play acted out before a camera. Instead of a physical theater where plays are limited by the stage and live audience, a camera crew has many tricks and techniques at their disposal to make the impossible appear real on film. In the early days of film, discovering and perfecting these techniques was a long process of trial and error. Even simple techniques like the close-up and scene transitions had to be figured out and perfected before filmmakers could make movies like the ones we have today (for an interesting discussion of the first “modern” film see here.) But if you want to see the birth of special effects for yourself, then the best thing to do is watch the movies! Continue reading “Innovation Behind the Camera: Stop Motion and Other Film Special Effects”
The other day, a friend asked me what war movies I thought had the most realistic depictions of war and combat. Obviously, no movie is ever going to get war “right.” And anyways how do you define “accurate” for something as huge and complicated as war? Individuals experiences can be wildly different, and their memories of war change over time too so depending on when you ask someone about their experiences in war, you’ll probably get a very different answer. Memory and experience are really interesting topics, but I’ll have to save that for another day. Continue reading “Combat on the Screen and on the Page”