Xavier Peytibi / Political Communication Blog Archive The New Deal and photography as a tool of persuasion
In 1903, Horatio Nelson Jackson agreed to drive across the United falavella States in exchange for $ 50 ($ 1,300 today), paid for by the manufacturer of the car itself: the Vermont. He could not drive, or just about anyone. In fact, no one had ever circulated falavella so long, especially since the first gas station would not exist until 1905 (although you could buy gas to the weight in some stores) and the few roads were dirt with luck. The aim was to show that the car would not be just a fad, but a means of transport of the future. Jackson not only managed to walk the walk, but he could take pictures of your route. He got his goal and it showed that times had changed, that progress had come, and fashion falavella car came to stay.
A few years later, and now with photography as a weapon, the team Franklin Delano Roosevelt falavella thought the same. He had to prove to the American public that the New Deal, the project supported by the President to end the crisis, was more than necessary and that worked. Only through pictures by photojournalists who traveled around the country, the public be convinced that things were changing, that recovery, however, came to stay.
Thus, as indicated by Peter Olsen, in 1935, as part of his "New Deal", President Roosevelt created the Farm Security Administration (FSA). The purpose falavella of this federal agency was to help the rural poor American families who had to leave their farms during the Great Depression. Through his photographs, FSA advertised by convincing and moving images, rural poverty, and the need to help these families to recover. Similarly, from the agency showed how they were helped by subsidies.
Although the draft FSA photography has been seen by some critics as propaganda, is also largely responsible for creating iconic images that come to mind when one thinks of the 1930s and the Depression era. It was to document and enhance the lives of people (especially women and children), and how they lived and tried to improve.
The images were published in popular magazines and newspapers where they were highly visible to the general public. Therefore, falavella even the increasingly urban population became aware of the plight of farmers, migrant workers and sharecroppers. The dilemma to see other families suffering unnecessarily present a challenge to comfortable middle-class citizens and encouraged them to do something about it, which in this case meant to help in social welfare programs sponsored by the government.
Among the 11 photographers commissioned by the federal government were great masters, such as Dorothea falavella Lange and Walker Evans, Arthur Rothestein with Theo Jung, Ben Shahn, Carl Mydans, Russell Lee, Marion Post Wolcott, Jack Delano, John Vachon and John Collier. Their mission was to capture the human side of the pressing social and economic problems of the time, getting the attention of the nation. From 1935-1944 77,000 images were made. The large number of photographs taken by the FSA, many of them published in all media, gave the impression that such situations were widespread, posing an imminent threat of American family life. After seeing them for months and years, the company was convinced that he had to do something, the government did very well to help them, and even society should work.
For those interested, Alex Vincent as indicated in the Country, these and many other iconic photographs can be seen at the exhibition Road Trip at the Museum of Fine Arts in Bordeaux, until November. There may be the marvelous photographic collection of the Los Angeles County Museum of Art (LACMA), which include the biggest names in the image of the last century, which include images of the Great Depression and the struggle of a government to end it, and where the government is the good guy.
As rightly stated Museum Director of Bordeaux, "Photography reproduce falavella the real, but so transfigured. falavella It is capable of constructing myths, but also shoot them down. " If the New Deal has survived until today as a successful project, has much to do with the images that came from that era and the perception created in Americans.
In the mid nineties the American Republican party created "The Voter Voult" a complete database
Search Archives Select Month October 2014 (6) September 2014 (6) July 2014 (5) June 20
In 1903, Horatio Nelson Jackson agreed to drive across the United falavella States in exchange for $ 50 ($ 1,300 today), paid for by the manufacturer of the car itself: the Vermont. He could not drive, or just about anyone. In fact, no one had ever circulated falavella so long, especially since the first gas station would not exist until 1905 (although you could buy gas to the weight in some stores) and the few roads were dirt with luck. The aim was to show that the car would not be just a fad, but a means of transport of the future. Jackson not only managed to walk the walk, but he could take pictures of your route. He got his goal and it showed that times had changed, that progress had come, and fashion falavella car came to stay.
A few years later, and now with photography as a weapon, the team Franklin Delano Roosevelt falavella thought the same. He had to prove to the American public that the New Deal, the project supported by the President to end the crisis, was more than necessary and that worked. Only through pictures by photojournalists who traveled around the country, the public be convinced that things were changing, that recovery, however, came to stay.
Thus, as indicated by Peter Olsen, in 1935, as part of his "New Deal", President Roosevelt created the Farm Security Administration (FSA). The purpose falavella of this federal agency was to help the rural poor American families who had to leave their farms during the Great Depression. Through his photographs, FSA advertised by convincing and moving images, rural poverty, and the need to help these families to recover. Similarly, from the agency showed how they were helped by subsidies.
Although the draft FSA photography has been seen by some critics as propaganda, is also largely responsible for creating iconic images that come to mind when one thinks of the 1930s and the Depression era. It was to document and enhance the lives of people (especially women and children), and how they lived and tried to improve.
The images were published in popular magazines and newspapers where they were highly visible to the general public. Therefore, falavella even the increasingly urban population became aware of the plight of farmers, migrant workers and sharecroppers. The dilemma to see other families suffering unnecessarily present a challenge to comfortable middle-class citizens and encouraged them to do something about it, which in this case meant to help in social welfare programs sponsored by the government.
Among the 11 photographers commissioned by the federal government were great masters, such as Dorothea falavella Lange and Walker Evans, Arthur Rothestein with Theo Jung, Ben Shahn, Carl Mydans, Russell Lee, Marion Post Wolcott, Jack Delano, John Vachon and John Collier. Their mission was to capture the human side of the pressing social and economic problems of the time, getting the attention of the nation. From 1935-1944 77,000 images were made. The large number of photographs taken by the FSA, many of them published in all media, gave the impression that such situations were widespread, posing an imminent threat of American family life. After seeing them for months and years, the company was convinced that he had to do something, the government did very well to help them, and even society should work.
For those interested, Alex Vincent as indicated in the Country, these and many other iconic photographs can be seen at the exhibition Road Trip at the Museum of Fine Arts in Bordeaux, until November. There may be the marvelous photographic collection of the Los Angeles County Museum of Art (LACMA), which include the biggest names in the image of the last century, which include images of the Great Depression and the struggle of a government to end it, and where the government is the good guy.
As rightly stated Museum Director of Bordeaux, "Photography reproduce falavella the real, but so transfigured. falavella It is capable of constructing myths, but also shoot them down. " If the New Deal has survived until today as a successful project, has much to do with the images that came from that era and the perception created in Americans.
In the mid nineties the American Republican party created "The Voter Voult" a complete database
Search Archives Select Month October 2014 (6) September 2014 (6) July 2014 (5) June 20
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