James Agee, Walker Evans, and the Dialectic of Documentary Representation in Let Us Now Praise Famous Men

Author(s):  
Joseph Millichap
Keyword(s):  
Author(s):  
Scott L. Matthews

This chapter explores how Hale County, Alabama became an iconic site of documentary representation during the twentieth century and why some its poor black and white residents resisted the attempts of documentarians to turn their private lives into public symbols. The chapter begins by examining the collaboration between two local white documentarians, amateur folklorist and poet, Martha Young and photographer J.W. Otts, who recorded the lives and customs of Hale County’s rural black people in the early 1900s. It focuses on Young’s dialect poems that speak from the perspective of black women who refused to be photographed by whites and who saw photography as an exploitative medium. Next, the chapter demonstrates how this narrative and tradition of resistance to documentary continued during the 1930s. It explores the resistance writer James Agee and photographer Walker Evans faced in the 1930s from some of the white tenant families they documented for their book, Let Us Now Praise Famous Men, and it shows how their descendants often found new ways to resist documentarians and journalists in succeeding decades. These acts of resistance transformed poor black and white residents into actors rather than just icons in the documentary process.


Author(s):  
Scott L. Matthews

This chapter examines the cultural politics of civil rights movement photography by analysing the work of Danny Lyon who worked as a photographer for the Student Nonviolent Coordinating Committee between 1962 and 1964. It explores how documentarians such as Robert Frank, Walker Evans, and James Agee inspired Lyon’s documentary work and how the political culture of the New Left influenced his work’s reception. The chapter first focuses on Lyon’s photographs of black SNCC activists in the South, particularly Robert Moses. Lyon’s photographs of Moses helped spread a romantic mythology around Moses and SNCC that was useful in recruiting white liberal support up North. Lyon also photographed the rural South’s landscapes and people extensively. Many in the New Left romanticized rural black southerners as true outsiders, the authentic opposites of their industrialized and commercialized societies back home. Consequently, Lyon’s photographs had the capacity to aestheticize the same conditions that SNCC recognized as the source of black subjugation. The chapter also highlights how these images and themes appeared and circulated in a civil rights movement photography book, The Movement, which Lyon contributed to and helped produce.


Criticism ◽  
2010 ◽  
Vol 52 (1) ◽  
pp. 41-70 ◽  
Author(s):  
Jeff Allred
Keyword(s):  

Prospects ◽  
1991 ◽  
Vol 16 ◽  
pp. 1-40 ◽  
Author(s):  
Guenter H. Lenz

When henry nash smith defined American Studies in 1957 as “the study of American culture past and present, as a whole,” he summarized more than two decades of a wide-ranging and self-conscious critical analysis of culture in the United States and, at the same time, initiated the search for the unified or holistic “method” through which American Studies would, finally, achieve maturity as an (interdisciplinary) discipline. The 1930s were the decade when, as Warren Susman pointed out years ago, the complexity of American culture as well as the culture concept were discovered and discussed in the wider public. We think of the work of cultural anthropology, of the studies in cultural relativism by Margaret Mead or of patterns of culture by Ruth Benedict that emphasized the unity of cultures and often were written with a self-critical look at American culture in mind. What was, however, even more important was the fact that during the 1930s American culture manifested itself as a multiculture, as a culture that was characterized even more by variety, heterogeneity, tensions, and alternative traditions than by the strong drive toward national identity and consensus. Cultural anthropologists, critics, and (“documentary”) writers such as “native anthropologist” Zora Neale Hurston, Constance Rourke, or James Agee (with photographer Walker Evans, in Let Us Now Praise Famous Men) worked out radical new methods and strategies of cultural critique and ethnographic writing in the study of American cultures, in the plural. Thus, historian Caroline F. Ware, writing for the American Historical Association in The Cultural Approach to History, could argue in 1940 that the “total cultural approach” does by no means imply that American culture is something like an organic unity, but that “American culture” is exactly the multiplicity of regional, ethnic, and class cultures and the interactions of these cultures in terms of rhetoric as well as of power, not some “common patterns” or the Anglo-Saxon tradition the “other” groups have to “contribute” to.


1986 ◽  
Vol 58 (1) ◽  
pp. 140
Author(s):  
Milton A. Cohen ◽  
J. A. Ward

On Essays ◽  
2020 ◽  
pp. 323-348
Author(s):  
Christy Wampole

This chapter analyses the hybridization of the essay with visual genres such as illustration, photography, film, and video, an emergent tendency throughout the twentieth century that underscores the shared features of essayism and Surrealism. These include the use of a logic of digression and free association, a focus on the inner life of the self, the dismissal of formal strictures, the deployment of sensory perception, memory, intuition, and imagination towards expressive ends, and the reliance on images. Beginning with Salvador Dalí’s illustrations for Montaigne’s Essays (1947), the chapter then turns to James Agee and Walker Evans’ collaborative photo essay Let Us Now Praise Famous Men (1941), Chris Marker’s essay-film Sans soleil (1982), and John Bresland’s video essay Mangoes (2010) in order to pinpoint the shared affinities between essayism and Surrealism.


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