＂Beyond the Dreams of Loveliness＂ --Film, Unionism, and Working Class Community Formation in Detroit, 1933-1939
＂Beyond the Dreams of Loveliness＂ --Film, Unionism, and Working Class Community Formation in Detroit, 1933-1939
关键词
工人阶级
电影院
底特律
社区
主义
工会组织
社会运动
联邦
film history, Detroit, unionism, labor and working class history, United Automobile Workers （UAW） Black Legion, working class community, community organizing/organizer
参考文献86
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1The Wagner Act specifically gave workers the right to form unions and forbade employers from interfering with the unionization process. Moreover, it obliged employers to bargain collectively with the unions in their shops. For a discussion of Franklin Roosevelt and his relationship with working class America see Leuchtenburg (1963, pp. 108-117). See also Hiltzik (2011, Ch. 7).
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2Numerous other forms of cultural expressions offered equally important opportunities for union organizers. Radio, fictional literature, theatre, and folk music also provided a unique opportunity to raise the political consciousnesses of working class Detroiters. The primary reason that the author chose to emphasize film because it has been largely ignored by scholars who have examined working class Detroit. For a discussion of the working class connections to radio see Godfried (1997);.
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3see also Cohen (1990, Ch. 8);.
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4for a discussion on working class literature, see Aaron (1961);.
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5see also Schwartz (1980, pp. 80-96).
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6; finally, for a discussion of the importance of folk music to the labor movement see Lieberman (1989) and Lipsitz (1994, Ch. 1).
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7For a discussion of the importance of audio and visual technology and its relationship to popular culture in the 1930s, see Susman (1980, pp. 159-161).
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8Michael Denning had pointed out that by 1934 a new radical culture was taking shape all over the country. At the heart of this cultural was a new generation of "plebeian" artists and intellectuals who grew up in the working class or among the immigrant masses of the "modem metropolis". Since many of these artists and writers were unemployed themselves throughout the Depression, they were active in the unemployed councils and other relief demonstrations. During the 1930s working class cultural clubs grew exponentially. What united these young artists, film makers, cartoonists, musicians, and the like was a broad social movement that came to be known as the Popular Front--a movement that consisted of industrial unionists, social progressives, political leftists, and anti-fascists. According to Denning, the Popular Front was accompanied by a distinct culture, what Lawrence Goodwyn has called a "movement culture". This "cultural front" emphasized social and industrial democracy. In essence, it was the culture of industrial unionism. See Denning (1996, pp. 14-18, 64-74).
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9Lawrence Goodwyn discusses the development of a "movement culture" in the second chapter of his book, The Populist Moment. Ranging from the traveling lecturer to folk music, this culture was meant to cultivate a collective climate for the Farmer Alliances throughout the American West and South during the 1890s.
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10Farmers, in turn, would have a common bond----culture--which could be used as a springboard by Alliance organizers to discuss the benefits of joining the Farmers' Alliance and the Populist Party. In essence, "movement culture" was being used to instill a level of class consciousness in the masses. See Goodwyn (1978, Ch. 2).
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