Sociological Images

Following up on a post I put up last month about World War II internment camps for Japanese Americans, reader Eduardo let us know about a short film distributed by the federal Office of War Information explaining why the camps were necessary and trying to portray them in a positive light. It’s a great example of propaganda. Notice at about 2:45 the narrator explains the change from voluntarily to required relocation of Japanese Americans in terms of their own protection, and at 3:20 mentions that those forced to relocate “cheerfully” took part in the process. It was such a happy, smooth process, with the federal government helping out!

The implication starting at about 4:00 that “loyal” Japanese Americans were happy to relocate as part of their patriotic duty is particularly striking. Presumably, then, if you objected to the violation of your civil rights and treatment as a potential enemy of your country, you proved exactly why you needed to be relocated.

But don’t worry. “We are protecting ourselves without violating the principles of Christian decency.”

The blog Of Another Fashion, by Minh-Ha T. Pham, serves as “an alternative archive of the not-quite-hidden but too often ignored fashion histories of U.S. women of color.” The collection includes images taken from public sources as well as photos sent in by readers and provides a contrast to fashion exhibits that usually present fashion trends as almost entirely White experiences.

While the collection is fascinating overall and definitely worth a look, I was particularly struck by the photos of life among Japanese Americans forced to live in internment camps during World War II.

A legal notice requiring Japanese Americans on the West Coast to relocate voluntarily to internment camps or face arrest:

Women playing volleyball:

(Library of Congress. Photo by Ansel Adams.)

Walking to school at the Manzanar camp:

(Library of Congress. Photo by Ansel Adams.)

Women in biology and dressmaking classes:

(Both images by Ansel Adams, 1943; Library of Congress.)

One camp’s version of a beauty salon:

Intake processing at the Santa Anita center:

(From the Library of Congress’ Farm Security Administration and Office of War Information Collection (April 1942). Photographer unknown.)

Pham discusses the fact that in many of the photos of the processing centers, the women are smiling and look very happy, despite going through what had to be an upsetting, frightening, and humiliating experience. Japanese Americans were not allowed to bring their own cameras into the camps; the photos were taken by others, including Dorothea Lange and Ansel Adams. And they found their subjects didn’t always cooperate with the images they were planning to provide of the camps:

According to Sue Kunitomi Embrey the chair of the Manzanar Committee, Adams hoped to capture the despair of camp life in order to stir some public sympathy for Japanese Americans but was frustrated by all the primping and posing Japanese Americans did when he was photographing.

…

…I hope that images of smiling and fashion-conscious Japanese American women…adds to and deepens our appreciation of the small acts of feeling, creativity, and resistance that happen everyday in spite of huge limitations. In an act as seemingly trivial and trite as smiling for the camera, these women interrupt and take some control of the historical, political, and visual frames through which they’re being viewed.

Some of you may have heard about the anti-Muslim protest outside a charity event in Orange County on February 13th. A local chapter of the Islamic Circle of North America (ICNA) Relief, a Muslim charity organization that raises money for women’s shelters, food pantries, disaster relief, and other humanitarian work, sponsored a fundraiser at the Yorba Linda Community Center.

Chrissy Y. sent in a video of the protest. It includes chants of “Go back home!”, “USA!”, and “terrorist!” amid loud boos as individuals walked into the center. At around 3:10 a woman accuses a man of beating his wife and being a child molester. Between the conflation of Muslim with being inherently un-American, the conflation of all Muslims with terrorists, and the reliance on the stereotype of Muslim men as brutal oppressors of victimized women, it is an ugly, ugly example of anti-Muslim sentiment:

Benedict Anderson coined the phrase “imagined communities” to point to the way that humans believe they are meaningfully connected, by virtue of some commonality, to people they will never know, and may have very little in common with.  He applied the idea to the nation.  Why do all of the citizens of China, for example, have in common with other citizens of China?  In some cases little, other than their citizenship.  Yet, the fact that “we are all Chinese” can motivate many people to do and feel things.

In an RSA video featuring Jeremy Rifkin, sent in by Dmitriy T.M., it is argued that the human ability to imagine a community is a neurological capacity for empathy that has evolved, both neurologically and socially, throughout human existence.  First, he argues, we identified with close relatives, then with our religious community, and later with our nation-state.  Our future, then, he argues, is dependent on our ability to imagine the whole world as a community.  New technologies may very well enable this and Rifkin has his fingers crossed.

Lester Andrist, at The Sociological Cinema, alerted me to a 9-minute short film revealing “Hollywood’s relentless vilification and dehumanization of Arabs and Muslims.”   Created by Jaqueline Salloum and Dr. Jack Shaheen’s book, Reel Bad Arabs, it is a stunning and disturbing collection of clips.  The depictions are grossly prejudiced and relentlessly violent.  Andrist summarizes:

The Media Education Foundation also made a full length documentary based on Shaheen’s book.  The 5-and-a-half-minute trailer is a good indication of its content.  It contains many similar disturbing depiction, including a discussion of Disney’s Aladdin, but also points to how Arabs are frequently shown as buffoons (“rich and stupid,” “oversexed,” and “uncontrollably obsessed with the American woman”).

See also our posts on how Arabs are portrayed in video games and Reel Injun, a documentary about the representation of American Indians in Hollywood.

Dmitriy T.M. sent in this Dodge ad that associates cars with liberty and, by extension, America itself:

There are a few problems with this conflation of Dodge with patriotism and Americanness. For one, Dmitriy says,

Washington ( as the general) would’ve never been leading the charge. The commanders always stayed back ( preferably on the high ground) so that they could observe the progress and give commands ( and get away as quickly as possible in case of a loss).

So the image of the brave leader charging ahead of his troops into battle is misleading.

In addition, many Dodge vehicles aren’t made in the U.S. So Dodge wants us to associate its brand with the U.S. in a symbolic way that makes irrelevant, and invisible, where the car is made. What’s important is that Dodge, founded in the U.S., builds cars that represent a masculinized, tough version of “freedom,” and of course, freedom is uniquely American. It reminds me a lot of the symbolic identification Pabst Blue Ribbon drinkers often feel with blue-collar workers, an identification that has little to do with the actual production process.

(NOTE: I am writing this post on January 2nd, 2010… almost a year before it will publish.  As I write it… I wonder if the wars in Iraq and Afganistan will still be ongoing.)

Last year Christmastime, Gin and Tacos highlighted this Walmart commercial:

He writes:

That commercial has nothing to do with Wal-Mart. It tells you nothing about its products, services, prices, or policies. It’s just sentimental pap, a cheap effort to bypass logic and score points on an emotional level.

Indeed, Walmart is attempting to associate its company with the admiration inspired by those risking their lives in war.  Why this doesn’t result in a strong and consequential backlash is lost on me.