Essay 3

Essay 3
Warren Susman argues that in the Thirties, popular media expressed ideas of a shared American “culture” and a “commitment” to collective interests. Using Susman’s insight, we can ascertain how some visual cultural materials might have been interpreted to support the political viewpoints Franklin Delano Roosevelt’s New Deal social welfare liberalism.
Warren Susman was a cultural historian for Rutgers Univesity and wrote several books about social change in the United States. In his book, Culture As History, Susman argues about the overwhelming public outcry for change in the 1930’s. He portrays the 1920’s as a time of stalemate and increased public frustration, and the 1930’s as an expression of that frustration. His book illustrates the parallels between the way in which public desire for change and liberalism in the media developed throughout the 1930’s.
Susman begins by demonstrating the problems the nation faced during the 1920’s. He contends that a lack of political change caused citizens of the United States to quarrel and realize no great political or ideological leaders in that decade. He alleges “But is there such a thing as the twenties? The decade simply falls apart upon examination unto crumbs and pieces which completely contradict each other in their essences…It was all in flux and change with artistic movements evolving into political crises, and where ideas of social service, justice, and religious reaction had their special spokesman” (Susman 151). This argument suggests that political stalemate plagued the 1920’s due to a lack of progressive growth. In addition to that, he contends that no one political figure or ideology embodies that decade and hints at the concern for progressive change.
The author continues on by illustrating the epitome of the lack of social change in the 1920’s. He demonstrates that the individual had “All this stress on conforming to what was demanded by society around us, all this emphasis on ‘fitting in’” (Susman 165). This interpretation of the social experience of the 1920’s defines the result of the lack of progressive change. It identifies the American people as growing frustrated with their current predicament.
Susman develops this argument by outright demonstrating the need for progressive change in the United States. He tells that “for the maker of myths, the propagandist for a cause, the memoirist, the historian, there are frequently different, compelling psychological and social needs dictating different forms and different ways of reconstruction” (Susman 151). This argument suggests that a new, liberating authority must take up governance. He advises that “traditional” (conservative) governance lacks the capacity to solve the problems that arose in the 1920’s and have carried into the 1930’s.
Susman further asserts that the people of the 1920’s grew frustrated with conservatism and, determined to liberate themselves, took political action in the 1930’s. Susman offers that “ the 1930’s appeared to be a period dominated by ideological commitment to Stalinism.” (Susman 151). This drastic shift to the left truly demonstrates the commitment of the people in the United States for change.
On the same note, the author illustrates the way in which this drastic shift in public opinion paralleled a drastic shift in the media as well. He states: “Suddenly we got out of the twilight of the gods into a sort of Boy Scout atmosphere of bare knees and community singing. The typical literary man ceases to be a cultured expatriate with a leaning towards the Church, and becomes an eager-minded schoolboy with a leaning towards communism. If the keynote of the twenties is ‘tragic sense of life,’ the keynote of the new writers is ‘serious purpose’” (Susman 152). This drastic shift to the left in the media accompanied the same shift in public opinion in the 1930’s.
In a speech to the Commonwealth Club on September 23, 1932, Franklin D. Roosevelt expressed the various challenges the nation was facing. He then put forth his argument for solving these problems.
Roosevelt begins by detailing the issues that arose in the 1920’s. He dictates: “It seems that things are in a rut, fixed, settled, that the world has grown old and tired and very much out of joint. this calls for a re—appraisal of values” (Roosevelt 1). This call for a “re-appraisal of values” suggests that Roosevelt agrees with the need for public change and also that he acknowledges the way in which the 1920’s embodied a political stalemate for the nation.
Roosevelt continues by subscribing his view of the changing public will in the United States. He explains that the nation has changed from an individualist-like culture to a more socialist-like culture. He asserts “I have traveled in many parts of the world, but never have I felt the arresting thought of the change and development more that here, where the old, mystic East would seem to be near to us, where the currents of life and thought and commerce of the whole world meet us. This factor alone is sufficient to cause man to stop and think of the deeper meaning of things, when he stands in this community” (Roosevelt 1). This argument suggests that the United States has changed into a more cooperative, symbiotic community. This statement also supports the argument that the political stalemate of the 1920’s could not continue, as public support wanes.
To further this argument Roosevelt asserts his political standing. He demonstrates his belief in this up-and-coming socialist trend in the United States by affirming that “This implication is, briefly, that the responsible heads of finance and industry instead of acting each for himself, must work together to achieve the common end” (Roosevelt 2). This statement affirms Roosevelt’s socialist-like beliefs in correlation with the beliefs of the general public.
To finally assert his political beliefs, Roosevelt simply states “we must all shoulder our common load” (Roosevelt 3).This quote truly illustrates Roosevelt’s assumption that the 1930’s demonstrated a new socialist belief system in the American public. Furthermore, Roosevelt establishes his liberal political beliefs.
During the period of the 1930’s, the American media seems to portray qualities of commitment and culture in their work. This interpretation commits support to the cause for Franklin Delano Roosevelt’s New Deal liberalism.
Jacob Lawrence’s “Migration Series” published in 1941 portrays the destitution of the African American traveling North to find work. The observer of these works cannot help but feel troubled about the predicament of those portrayed therein. Furthermore, this empathy evoking depiction certainly supports Roosevelt’s New Deal liberalism, as the observer cannot help but want to provide assistance for the destitute in the portrayal.
Interpretation of Wilfred Mead’s CCC photos could yield support for New Deal liberalism. The images of working men, displaying masculinity and virility, inspire Americans around the possibilities of the American work force. This idea of support for the worker unquestionably supports New Deal liberalism, as it portrays socialist-like messages.
In Jenne’s “Development of the Land,” the painting delineates workers in the field and in the factories. It exhibits the hardships of the workers as well as the change in the capitalization of the land they work on. The painting depicts the workers in such a way as to evoke emotion and support of the workers in the viewer. This support demonstrates the way in which media of the time bolstered New Deal liberalism.
Gropper’s “Construction of The Dam” illustrates workers collaborating in order to construct a dam. This image undoubtedly evokes emotions of pride in the observer. This pride demonstrates the way in which public opinion supported the worker’s rights, and therefore New Deal liberalism.
In Fogel’s paintings entitled “industrial Life” he depicts the cooperation that workers in a factory bring about in order to achieve a common goal. The observer of these paintings undoubtedly comprehends the social implications, that of working together for a common goal in society. This idea certainly supports the ideals of New Deal liberalism. Continually, his painting “Security of the Family” depicts the benefits that cooperative societies can enjoy. The observer unquestionably sobers at the depiction of these benefits. This sobering effect surely illustrates the media’s support for New Deal liberalism.
Using the insight of Warren Susman, we can ascertain how some visual cultural materials might have been interpreted to support the political viewpoints of Roosevelt’s New Deal social welfare liberalism.

Bibliography:

Susman, Warren. “Culture as History.” New York: Pantheon Books, 1984.

Roosevelt, Franklin D. “Commonwealth Club Address.” Ashbrook Center for Public Affairs at Ashland University. 2006, Ashland University. http://blackboard.gwu.edu/webapps/portal/frameset.jsp?tab_id=_2_1&url=%2fwebapps%2fblackboard%2fexecute%2flauncher%3ftype%3dCourse%26id%3d_119600_1%26url%3d