This picture appeared in an issue of LIFE magazine
in February of 1937. It was taken by Margaret Bourke-White, a
prominent photographer of that era. She was the first foreign photographer
permitted to take pictures of the Soviet Industry, the first female war
correspondent, the first female permitted to work in war zones, and the first
female photographer for LIFE magazine (her photo being featured on the
cover of the first-ever issue). What is known about the photograph above is
that its subjects were supposedly flood victims. Other details have been lost
with time and this makes discerning Bourke-White's purpose difficult. Many
analysts speculate that she was trying to highlight the irony of the
"American Way". As a nation, we've promoted this country to be
"hope for the hopeless" and full of infinite opportunity. In reality,
things aren't always so peachy. The Great Depression serves as the perfect
example for a time that the "American Way" failed those relying on
it. The 1930s also failed to recognize non-whites as part of the "American
Way". Middle-class families were always depicted as white and well off,
while any other demographic was pushed aside. Publishing this photo would have
been very controversial because it drudged up the economic and racial issues
that government was trying to minimize in the eyes of the public. This mural
could even be deemed a form of propaganda. Its message is a blatant
contradiction to the suffering taking place around it (i.e. the Great
Depression). This photograph was meant for readers of LIFE magazine,
but I believe Bourke-White's intended audience was larger than that. I believe
she hoped this photo would become popular among an intellectual body that saw
flaws in the system and would try to fix them. She predominantly used the
rhetorical device of irony to get her message across. I feel as though she achieved
her purpose because even 70 years later photography analysts still look to this
picture as an effective example of political commentary on a very controversial
issue.
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