Revolutionary Spaces
Photographs of Working-Class Women by Esther Bubley 1940-1943
Bibliographic Data
| ID | 3946184 |
|---|---|
| Authors | Jacqueline Ellis (corresponding author) |
| Year | 1996 |
| Volume | 53 |
| Issue | 1 |
| Pages | 74-94 |
| Publication date | 1996-07-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Feminist Review (JOURNAL) |
| Journal identifiers | ISSN: 0141-7789 • E-ISSN: 1466-4380 |
| Publisher | SAGE Publications Inc (PUBLISHER) |
| DOI | 10.1057/fr.1996.18 |
| OpenAlex | W2018530559 |
| Language | EN |
| Citations received | 3 |
| References cited | 2 |
This article had several purposes. First, I wanted to highlight the work of Esther Bubley, an American photographer whose documentary work for the Farm Security Administration and the Office of War Information in the early 1940s is largely unknown. Second, I wanted to show how her images complicated and undermined the traditional themes of Depression era photography in the United States, Third, by looking at her images of women, my intention was to reveal how she worked against depictions of femininity during the Depression, and in confrontation with one-dimensional portrayals of women as America entered the Second World Wan In conclusion, I contend that Bubley's images were fundamentally portrayals of working-class femininity represented as being an individual – rather than a symbolic – experience. Most specifically in the images I have examined, Bubley deconstructs an ideological image of female working-class identity which was central to documentary photography in 1930s America. For example, unlike in photographs by Dorothea Lange, Bubley did not portray working-class women as metaphoric sites of passive endurance which would eventually lead to the rejuvenation of American nationalism. Rather, she showed working-class women to be potentially subversive in the ways they defined themselves against the legacy of 1930s photography and in opposition to the ideological impositions of wartime propaganda. As a result, Bubley's images of working-class women waiting in bars for lonely soldiers, or looking for a future beyond the confines of their boarding house existences while remaining outside the middle-class boundaries defined by capitalist consumerism, set out a pictorial foundation for working-class female identity which exists beyond the context in which the photographs were taken. Consequently, Bubley's work highlights individual self-identity, personal empowerment and self-conscious desire in working-class women which was – and still is – confined and repressed by economic disadvantage and systematic marginalization from an American society defined from a middle-class point of view
Class (philosophy) · Epistemology · Femininity · Feminism · Human sexuality · Ideology · Middle class · Nationalism · Political science · Politics · Sociology · Women's studies · Working class · Anthropology · Art, Politics, and Modernism · Cultural Studies · Gender Studies · Italian Fascism and Post-war Society · Law · Philosophy · Photography and Visual Culture
| Unique citing works | 2 |
|---|---|
| Citations per year | 0,6 |
| Citation span | 2021 - 2024 (4) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 3 |