Herbert K. Sorrell as the Grade-B hero: Militancy and masculinity in the studios

Labor History

Volumn 37, Issue 3, 1996, Pages 392-416

  Pintar, Laurie Caroline ^a  

^a NONE

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[No Author keywords available]

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EID: 0030509218     PISSN: 0023656X     EISSN: None     Source Type: Journal    
DOI: 10.1080/00236619612331386883     Document Type: Review

References (131)

1. Quotations taken from the following sources: Business Week, Mar. 13, 1947; The New York Times, Mar. 4, 1947; U.S. Congress, House, Committee on Education and Labor, Jurisdictional Disputes in the Motion Picture Industry, Hearings Before a Special Subcommittee of the Committee of Education and Labor on H.R. 111, 80th Congress, 1st sess., 1948, 2129. This report hereafter cited as JD. A detailed account of Sorrell's abduction appears in his Oral History, "You Don't Choose Your Friends? UCLA Special Collections, interviewed by Elizabeth J. Dixon, 1963.
2. Quotations taken from the following sources: Business Week, Mar. 13, 1947; The New York Times, Mar. 4, 1947; U.S. Congress, House, Committee on Education and Labor, Jurisdictional Disputes in the Motion Picture Industry, Hearings Before a Special Subcommittee of the Committee of Education and Labor on H.R. 111, 80th Congress, 1st sess., 1948, 2129. This report hereafter cited as JD. A detailed account of Sorrell's abduction appears in his Oral History, "You Don't Choose Your Friends? UCLA Special Collections, interviewed by Elizabeth J. Dixon, 1963.
3. Quotations taken from the following sources: Business Week, Mar. 13, 1947; The New York Times, Mar. 4, 1947; U.S. Congress, House, Committee on Education and Labor, Jurisdictional Disputes in the Motion Picture Industry, Hearings Before a Special Subcommittee of the Committee of Education and Labor on H.R. 111, 80th Congress, 1st sess., 1948, 2129. This report hereafter cited as JD. A detailed account of Sorrell's abduction appears in his Oral History, "You Don't Choose Your Friends? UCLA Special Collections, interviewed by Elizabeth J. Dixon, 1963.
4. Quotations taken from the following sources: Business Week, Mar. 13, 1947; The New York Times, Mar. 4, 1947; U.S. Congress, House, Committee on Education and Labor, Jurisdictional Disputes in the Motion Picture Industry, Hearings Before a Special Subcommittee of the Committee of Education and Labor on H.R. 111, 80th Congress, 1st sess., 1948, 2129. This report hereafter cited as JD. A detailed account of Sorrell's abduction appears in his Oral History, "You Don't Choose Your Friends? UCLA Special Collections, interviewed by Elizabeth J. Dixon, 1963.
5. For classic works which focus on class consciousness, see for example, James Green, "Fighting on Two Fronts: Working-Class Militancy in the 1940s," Radical America, 9 (July-Aug. 1975), 7-43; James Green, "Working-Class Militancy in the Depression," Radical America, 6 (Nov.-Dec. 1972), 1-34; Alice Lynd and Staughton Lynd, Rank and File: Personal Histories of Working-Class Organizers (Boston: Beacon Press, 1973). See Bruce Nelson's Workers on the Waterfront (Urbana: University of Illinois Press, 1988) for a more recent example of a work which focuses on the presence of class consciousness in the labor force during the 1930s. For a more general discussion of the issue of class primacy in the field of labor history, see Eric Foner, "Why is there no Socialism in the United States?" History Workshop, 17 (Spring 1984), 56-80.
6. For classic works which focus on class consciousness, see for example, James Green, "Fighting on Two Fronts: Working-Class Militancy in the 1940s," Radical America, 9 (July-Aug. 1975), 7-43; James Green, "Working-Class Militancy in the Depression," Radical America, 6 (Nov.-Dec. 1972), 1-34; Alice Lynd and Staughton Lynd, Rank and File: Personal Histories of Working-Class Organizers (Boston: Beacon Press, 1973). See Bruce Nelson's Workers on the Waterfront (Urbana: University of Illinois Press, 1988) for a more recent example of a work which focuses on the presence of class consciousness in the labor force during the 1930s. For a more general discussion of the issue of class primacy in the field of labor history, see Eric Foner, "Why is there no Socialism in the United States?" History Workshop, 17 (Spring 1984), 56-80.
7. For classic works which focus on class consciousness, see for example, James Green, "Fighting on Two Fronts: Working-Class Militancy in the 1940s," Radical America, 9 (July-Aug. 1975), 7-43; James Green, "Working-Class Militancy in the Depression," Radical America, 6 (Nov.-Dec. 1972), 1-34; Alice Lynd and Staughton Lynd, Rank and File: Personal Histories of Working-Class Organizers (Boston: Beacon Press, 1973). See Bruce Nelson's Workers on the Waterfront (Urbana: University of Illinois Press, 1988) for a more recent example of a work which focuses on the presence of class consciousness in the labor force during the 1930s. For a more general discussion of the issue of class primacy in the field of labor history, see Eric Foner, "Why is there no Socialism in the United States?" History Workshop, 17 (Spring 1984), 56-80.
8. For classic works which focus on class consciousness, see for example, James Green, "Fighting on Two Fronts: Working-Class Militancy in the 1940s," Radical America, 9 (July-Aug. 1975), 7-43; James Green, "Working-Class Militancy in the Depression," Radical America, 6 (Nov.-Dec. 1972), 1-34; Alice Lynd and Staughton Lynd, Rank and File: Personal Histories of Working-Class Organizers (Boston: Beacon Press, 1973). See Bruce Nelson's Workers on the Waterfront (Urbana: University of Illinois Press, 1988) for a more recent example of a work which focuses on the presence of class consciousness in the labor force during the 1930s. For a more general discussion of the issue of class primacy in the field of labor history, see Eric Foner, "Why is there no Socialism in the United States?" History Workshop, 17 (Spring 1984), 56-80.
9. For classic works which focus on class consciousness, see for example, James Green, "Fighting on Two Fronts: Working-Class Militancy in the 1940s," Radical America, 9 (July-Aug. 1975), 7-43; James Green, "Working-Class Militancy in the Depression," Radical America, 6 (Nov.-Dec. 1972), 1-34; Alice Lynd and Staughton Lynd, Rank and File: Personal Histories of Working-Class Organizers (Boston: Beacon Press, 1973). See Bruce Nelson's Workers on the Waterfront (Urbana: University of Illinois Press, 1988) for a more recent example of a work which focuses on the presence of class consciousness in the labor force during the 1930s. For a more general discussion of the issue of class primacy in the field of labor history, see Eric Foner, "Why is there no Socialism in the United States?" History Workshop, 17 (Spring 1984), 56-80.
10. For recent critiques of class primacy, see Melvyn Dubofsky, "Not So 'Turbulent Years': A New Look at the 1930s," in Charles Stephenson and Robert Asher, eds. Life and Labor: Dimensions of American Working-Class History (Albany: SUNY Press, 1986), 205-223 and John Bodnar, Workers' World: Kinship, Community, and Protest in an Industrial Society, 1900-1940 (Baltimore: John Hopkins University Press, 1982). For a more general critique of class primacy in the field of labor history, see Michael Kazin, "Struggling With Class Struggle: Marxism and the Search for Synthesis of U.S. Labor History," Labor History, 28 (1987), 497-514.
11. For recent critiques of class primacy, see Melvyn Dubofsky, "Not So 'Turbulent Years': A New Look at the 1930s," in Charles Stephenson and Robert Asher, eds. Life and Labor: Dimensions of American Working-Class History (Albany: SUNY Press, 1986), 205-223 and John Bodnar, Workers' World: Kinship, Community, and Protest in an Industrial Society, 1900-1940 (Baltimore: John Hopkins University Press, 1982). For a more general critique of class primacy in the field of labor history, see Michael Kazin, "Struggling With Class Struggle: Marxism and the Search for Synthesis of U.S. Labor History," Labor History, 28 (1987), 497-514.
12. For recent critiques of class primacy, see Melvyn Dubofsky, "Not So 'Turbulent Years': A New Look at the 1930s," in Charles Stephenson and Robert Asher, eds. Life and Labor: Dimensions of American Working-Class History (Albany: SUNY Press, 1986), 205-223 and John Bodnar, Workers' World: Kinship, Community, and Protest in an Industrial Society, 1900-1940 (Baltimore: John Hopkins University Press, 1982). For a more general critique of class primacy in the field of labor history, see Michael Kazin, "Struggling With Class Struggle: Marxism and the Search for Synthesis of U.S. Labor History," Labor History, 28 (1987), 497-514.
13. During the past 10 years, numerous studies focusing on women workers and incorporating both class and gender as analytic categories have been produced. For a relatively early theoretical discussion of the import of gender see Joan Scott, Gender and the Politics of History (NY: Columbia University Press, 1988). More recently, historians of women and work have explored the impact of social constructions of femininity on women's labor activism. See, for example, Jacqueline Dowd Hall, "Disorderly Women: Gender and Labor Militancy in the Appalachian South," in Ellen Carol DuBois and Vicki L. Ruiz, eds., Unequal Sisters: A Multicultural Reader in U.S. Women's History (NY: Routledge, 1990); Leslie A. Taylor, "Femininity as Strategy: A Gendered Perspective on the Farmers' Holiday," The Annals of Iowa, 51 (Winter 1992), 252-277.
14. During the past 10 years, numerous studies focusing on women workers and incorporating both class and gender as analytic categories have been produced. For a relatively early theoretical discussion of the import of gender see Joan Scott, Gender and the Politics of History (NY: Columbia University Press, 1988). More recently, historians of women and work have explored the impact of social constructions of femininity on women's labor activism. See, for example, Jacqueline Dowd Hall, "Disorderly Women: Gender and Labor Militancy in the Appalachian South," in Ellen Carol DuBois and Vicki L. Ruiz, eds., Unequal Sisters: A Multicultural Reader in U.S. Women's History (NY: Routledge, 1990); Leslie A. Taylor, "Femininity as Strategy: A Gendered Perspective on the Farmers' Holiday," The Annals of Iowa, 51 (Winter 1992), 252-277.
15. During the past 10 years, numerous studies focusing on women workers and incorporating both class and gender as analytic categories have been produced. For a relatively early theoretical discussion of the import of gender see Joan Scott, Gender and the Politics of History (NY: Columbia University Press, 1988). More recently, historians of women and work have explored the impact of social constructions of femininity on women's labor activism. See, for example, Jacqueline Dowd Hall, "Disorderly Women: Gender and Labor Militancy in the Appalachian South," in Ellen Carol DuBois and Vicki L. Ruiz, eds., Unequal Sisters: A Multicultural Reader in U.S. Women's History (NY: Routledge, 1990); Leslie A. Taylor, "Femininity as Strategy: A Gendered Perspective on the Farmers' Holiday," The Annals of Iowa, 51 (Winter 1992), 252-277.
16. The invisibility of gender, specifically in studies of apprenticeship, is addressed by Ava Baron in "An 'Other' Side of Gender Antagonism at Work: Men, Boys, and the Remasculinization of Printers' Work, 1830-1920," in Ava Baron, ed., Work Engendered: Toward a New History of American Labor (Ithaca: Cornell University Press, 1991). For a recent discussion of the need for inclusion of gender analysis in labor history, including the critique of labor historians' tendency to treat male workers as workers, see Baron's introductory essay in Work Engendered. See also Alice Kessler-Harris, "Treating the Male as 'Other': Redefining the Parameters of Labor History," Labor History, 34 (1993), 190-204.
17. The invisibility of gender, specifically in studies of apprenticeship, is addressed by Ava Baron in "An 'Other' Side of Gender Antagonism at Work: Men, Boys, and the Remasculinization of Printers' Work, 1830-1920," in Ava Baron, ed., Work Engendered: Toward a New History of American Labor (Ithaca: Cornell University Press, 1991). For a recent discussion of the need for inclusion of gender analysis in labor history, including the critique of labor historians' tendency to treat male workers as workers, see Baron's introductory essay in Work Engendered. See also Alice Kessler-Harris, "Treating the Male as 'Other': Redefining the Parameters of Labor History," Labor History, 34 (1993), 190-204.
18. The invisibility of gender, specifically in studies of apprenticeship, is addressed by Ava Baron in "An 'Other' Side of Gender Antagonism at Work: Men, Boys, and the Remasculinization of Printers' Work, 1830-1920," in Ava Baron, ed., Work Engendered: Toward a New History of American Labor (Ithaca: Cornell University Press, 1991). For a recent discussion of the need for inclusion of gender analysis in labor history, including the critique of labor historians' tendency to treat male workers as workers, see Baron's introductory essay in Work Engendered. See also Alice Kessler-Harris, "Treating the Male as 'Other': Redefining the Parameters of Labor History," Labor History, 34 (1993), 190-204.
19. For a full discussion of the breadwinner ethos in crisis, see Elaine Tyler May, Homeward Bound (NY: Oxford University Press, 1988), 148. For additional works on masculinity in crisis, see, for example, Harry Brod, ed., The Making of Masculinities: The New Men's Studies (Boston: Allen & Unwin, 1987); Barbara Melosh, ed., Gender and American History Since 1890 (NY, 1993); Anthony Rotundo, Transformation in Masculinity: From the Revolution to the Modern Era (NY: Basic Books, 1993). For a work which addresses masculinity in the context of economic upheaval, see Eliot Gorn, The Manly Art: Bare Knuckle Prize Fighting in America (Ithaca: Cornell University Press, 1986). For a broad collection of essays on masculinity, see Mark Carnes and Clyde Griffen, eds., Meanings For Manhood: Constructions of Masculinity in Victorian America (Chicago: University of Chicago Press, 1990).
20. For a full discussion of the breadwinner ethos in crisis, see Elaine Tyler May, Homeward Bound (NY: Oxford University Press, 1988), 148. For additional works on masculinity in crisis, see, for example, Harry Brod, ed., The Making of Masculinities: The New Men's Studies (Boston: Allen & Unwin, 1987); Barbara Melosh, ed., Gender and American History Since 1890 (NY, 1993); Anthony Rotundo, Transformation in Masculinity: From the Revolution to the Modern Era (NY: Basic Books, 1993). For a work which addresses masculinity in the context of economic upheaval, see Eliot Gorn, The Manly Art: Bare Knuckle Prize Fighting in America (Ithaca: Cornell University Press, 1986). For a broad collection of essays on masculinity, see Mark Carnes and Clyde Griffen, eds., Meanings For Manhood: Constructions of Masculinity in Victorian America (Chicago: University of Chicago Press, 1990).
21. For a full discussion of the breadwinner ethos in crisis, see Elaine Tyler May, Homeward Bound (NY: Oxford University Press, 1988), 148. For additional works on masculinity in crisis, see, for example, Harry Brod, ed., The Making of Masculinities: The New Men's Studies (Boston: Allen & Unwin, 1987); Barbara Melosh, ed., Gender and American History Since 1890 (NY, 1993); Anthony Rotundo, Transformation in Masculinity: From the Revolution to the Modern Era (NY: Basic Books, 1993). For a work which addresses masculinity in the context of economic upheaval, see Eliot Gorn, The Manly Art: Bare Knuckle Prize Fighting in America (Ithaca: Cornell University Press, 1986). For a broad collection of essays on masculinity, see Mark Carnes and Clyde Griffen, eds., Meanings For Manhood: Constructions of Masculinity in Victorian America (Chicago: University of Chicago Press, 1990).
22. For a full discussion of the breadwinner ethos in crisis, see Elaine Tyler May, Homeward Bound (NY: Oxford University Press, 1988), 148. For additional works on masculinity in crisis, see, for example, Harry Brod, ed., The Making of Masculinities: The New Men's Studies (Boston: Allen & Unwin, 1987); Barbara Melosh, ed., Gender and American History Since 1890 (NY, 1993); Anthony Rotundo, Transformation in Masculinity: From the Revolution to the Modern Era (NY: Basic Books, 1993). For a work which addresses masculinity in the context of economic upheaval, see Eliot Gorn, The Manly Art: Bare Knuckle Prize Fighting in America (Ithaca: Cornell University Press, 1986). For a broad collection of essays on masculinity, see Mark Carnes and Clyde Griffen, eds., Meanings For Manhood: Constructions of Masculinity in Victorian America (Chicago: University of Chicago Press, 1990).
23. For a full discussion of the breadwinner ethos in crisis, see Elaine Tyler May, Homeward Bound (NY: Oxford University Press, 1988), 148. For additional works on masculinity in crisis, see, for example, Harry Brod, ed., The Making of Masculinities: The New Men's Studies (Boston: Allen & Unwin, 1987); Barbara Melosh, ed., Gender and American History Since 1890 (NY, 1993); Anthony Rotundo, Transformation in Masculinity: From the Revolution to the Modern Era (NY: Basic Books, 1993). For a work which addresses masculinity in the context of economic upheaval, see Eliot Gorn, The Manly Art: Bare Knuckle Prize Fighting in America (Ithaca: Cornell University Press, 1986). For a broad collection of essays on masculinity, see Mark Carnes and Clyde Griffen, eds., Meanings For Manhood: Constructions of Masculinity in Victorian America (Chicago: University of Chicago Press, 1990).
24. For a full discussion of the breadwinner ethos in crisis, see Elaine Tyler May, Homeward Bound (NY: Oxford University Press, 1988), 148. For additional works on masculinity in crisis, see, for example, Harry Brod, ed., The Making of Masculinities: The New Men's Studies (Boston: Allen & Unwin, 1987); Barbara Melosh, ed., Gender and American History Since 1890 (NY, 1993); Anthony Rotundo, Transformation in Masculinity: From the Revolution to the Modern Era (NY: Basic Books, 1993). For a work which addresses masculinity in the context of economic upheaval, see Eliot Gorn, The Manly Art: Bare Knuckle Prize Fighting in America (Ithaca: Cornell University Press, 1986). For a broad collection of essays on masculinity, see Mark Carnes and Clyde Griffen, eds., Meanings For Manhood: Constructions of Masculinity in Victorian America (Chicago: University of Chicago Press, 1990).
25. For discussions of masculinity during the 1940s and 1950s, see Barbara Ehrenreich, The Hearts of Men (Garden City, NY: Doubleday, 1983) and Peter Filene, Him/Her/Self: Sex Roles in Modern America (Baltimore: Johns Hopkins University Press, 1986).
26. For discussions of masculinity during the 1940s and 1950s, see Barbara Ehrenreich, The Hearts of Men (Garden City, NY: Doubleday, 1983) and Peter Filene, Him/Her/Self: Sex Roles in Modern America (Baltimore: Johns Hopkins University Press, 1986).
27. David Montgomery, Workers' Control in America (Cambridge, MA: Cambridge University Press, 1979), 179.
28. For a more detailed account of Sorrell's early life, see Sorrell Oral History.
29. JD, 1838.
30. JD, 1839.
31. Business Week, July 13, 1946.
32. George H. Dunne, Hollywood Labor Dispute: A Study in Immorality (Los Angeles, 1952),
33. Dunne's work was published by the Conference of Studio Unions.
34. Mike Nielsen and Gene Mailes, Hollywood's Other Blacklist: Union Struggles in the Studio System, (London: British Film Institute, 1995), 91. Greensmen were later known as Landscape Set Dressers.
35. Dunne, 26.
36. Nielsen & Mailes, 91.
37. JD, 1919.
38. JD, 359, 2131, 1857.
39. Nielsen & Mailes, 91.
40. For discussions on republicanism and worker culture see, for example, Steven J. Ross, Workers on the Edge (NY: Columbia University Press, 1985) and Sean Wilentz, Chants Democratic (NY: Oxford University Press, 1984).
41. For discussions on republicanism and worker culture see, for example, Steven J. Ross, Workers on the Edge (NY: Columbia University Press, 1985) and Sean Wilentz, Chants Democratic (NY: Oxford University Press, 1984).
42. JD, 1902.
43. Herbert Sorrell, "Herbert Sorrell Presents, Real vs IATSE Facts," Handbill, undated, c. 1939, USTG Clippings File, Academy of Motion Picture Arts and Sciences (hereafter cited as Academy), Los Angeles, CA.
44. JD, 1877. The democratic nature of Sorrell's version of unionism is further documented by the fact that each strike which Sorrell led during the 1940s was called as a result of a mass meeting and democratic vote by local union members.
45. JD, 769.
46. JD, 1853-54.
47. JD, 1854.
48. JD, 1843.
49. Anthony Dawson, "Hollywood's Labor Troubles," Industrial and Labor Relations Review, July 1948, 638-47; "Motion Picture Economics," Hollywood Quarterly, 4 (1950), 217-40;
50. Anthony Dawson, "Hollywood's Labor Troubles," Industrial and Labor Relations Review, July 1948, 638-47; "Motion Picture Economics," Hollywood Quarterly, 4 (1950), 217-40;
51. "Patterns of Production and Employment in Hollywood," Hollywood Quarterly, 4 (1949), 338-53.
52. For a recent evaluation of the economic and business aspects of the motion picture industry during the 1930s, see Tino Balio, Grand Design: Hollywood as a Modem Business Enterprise, 1930-1939 (Berkeley: University of California Press, 1993).
53. For information of the early years of IATSE, see Robert Osborne Baker, The International Alliance of Theatrical and Stage Employes and Moving Picture Machine Operators of the United States and Canada (Lawrence, Kansas: University of Kansas Press, 1933); John Russell Cauble, A Study of the International Alliance of Theatrical and Stage Employes and Moving Picture Machine Operators of the United States and Canada (unpublished MA essay, UCLA, 1964); Michael Nielsen, Motion Picture Craft Workers and Craft Unions in Hollywood: The Studio Era, 1912-1948 (unpublished PhD diss., Univ. of Illinois at Urbana-Champaign, 1985).
54. For information of the early years of IATSE, see Robert Osborne Baker, The International Alliance of Theatrical and Stage Employes and Moving Picture Machine Operators of the United States and Canada (Lawrence, Kansas: University of Kansas Press, 1933); John Russell Cauble, A Study of the International Alliance of Theatrical and Stage Employes and Moving Picture Machine Operators of the United States and Canada (unpublished MA essay, UCLA, 1964); Michael Nielsen, Motion Picture Craft Workers and Craft Unions in Hollywood: The Studio Era, 1912-1948 (unpublished PhD diss., Univ. of Illinois at Urbana-Champaign, 1985).
55. For information of the early years of IATSE, see Robert Osborne Baker, The International Alliance of Theatrical and Stage Employes and Moving Picture Machine Operators of the United States and Canada (Lawrence, Kansas: University of Kansas Press, 1933); John Russell Cauble, A Study of the International Alliance of Theatrical and Stage Employes and Moving Picture Machine Operators of the United States and Canada (unpublished MA essay, UCLA, 1964); Michael Nielsen, Motion Picture Craft Workers and Craft Unions in Hollywood: The Studio Era, 1912-1948 (unpublished PhD diss., Univ. of Illinois at Urbana-Champaign, 1985).
56. Time, Aug. 21, 1939; Dunne, 6. Much of the information on Browne and Bioff comes from Dunne who reproduced extensive excerpts from tax court proceedings: Tax Court of U.S., Docket Nos. 8840, 8841, 8842, Columbia Reporting Company, Washington DC.
57. Dunne, 12-13. For a full discussion of the corruption within IATSE see Denise Hartsough, "Crime Pays: The Studios' Labor Deals in the 1930s," Velvet Light Trap, 23 (1989).
58. Time, Aug. 21, 1939; Dunne, 12-13.
59. Dunne, 11-13.
60. Dunne, 8-10. For a detailed discussion of this agreement, see Hartsough, "Crime Pays. . . ."
61. At the time, IATSE's four Hollywood locals included Soundmen 695, Cameramen 659, Laboratory Technicians' 683, and Stagehands' 37. Motion Picture Herald, Oct. 11, 18, 1941; Dunne, 16-17.
62. Nielsen, 195-196.
63. The New York Times, Mar. 3, 1937. For a detailed discussion of the FMPC, see Ida Jeter, "The Collapse of the Federated Motion Picture Crafts: A Case Study of Class Collaboration in the Motion Picture Industry," Journal of the University Film Association, 31 (Spring 1979), 37-45. Unemployment and wage rate information comes from Daily Variety, Jan. 19, 1938 and JD, 1873.
64. The New York Times, Mar. 3, 1937. For a detailed discussion of the FMPC, see Ida Jeter, "The Collapse of the Federated Motion Picture Crafts: A Case Study of Class Collaboration in the Motion Picture Industry," Journal of the University Film Association, 31 (Spring 1979), 37-45. Unemployment and wage rate information comes from Daily Variety, Jan. 19, 1938 and JD, 1873.
65. The New York Times, Mar. 3, 1937. For a detailed discussion of the FMPC, see Ida Jeter, "The Collapse of the Federated Motion Picture Crafts: A Case Study of Class Collaboration in the Motion Picture Industry," Journal of the University Film Association, 31 (Spring 1979), 37-45. Unemployment and wage rate information comes from Daily Variety, Jan. 19, 1938 and JD, 1873.
66. Motion Picture Herald, Mar.-May 1937; The New York Times, May 9, 1937; Variety, May 12 1937
67. Motion Picture Herald, Mar.-May 1937; The New York Times, May 9, 1937; Variety, May 12 1937
68. Motion Picture Herald, Mar.-May 1937; The New York Times, May 9, 1937; Variety, May 12 1937
69. Variety, May 5, 1937.
70. JD, 1847.
71. The New York Times, May 5, 1937.
72. Photograph courtesy of Hearst Collection, Los Angeles Examiner, Department of Special Collections, University of Southern California Library.
73. JD, 1848.
74. JD, 1848-49.
75. Los Angeles Citizen, May 5-7, 1937; Motion Picture Herald, Mar.-April 1937; The New York Times, May 3-10, 1937; Variety, May 12, June 9, 1937.
76. Los Angeles Citizen, May 5-7, 1937; Motion Picture Herald, Mar.-April 1937; The New York Times, May 3-10, 1937; Variety, May 12, June 9, 1937.
77. Los Angeles Citizen, May 5-7, 1937; Motion Picture Herald, Mar.-April 1937; The New York Times, May 3-10, 1937; Variety, May 12, June 9, 1937.
78. Los Angeles Citizen, May 5-7, 1937; Motion Picture Herald, Mar.-April 1937; The New York Times, May 3-10, 1937; Variety, May 12, June 9, 1937.
79. JD, 1849.
80. JD, 1847-48.
81. Business Week, July 13, 1946.
82. Herbert Sorrell Presents . . ."
83. Variety, Dec. 5, 1939, from JD, 2009-10.
84. Dunne, 26.
85. L.P. Lindelof to William Green, Nov. 11, 1941, from JD, 1938-41.
86. Variety, Dec. 18, 1939.
87. JD, 1589.
88. JD, 1854-59.
89. Nielsen & Mailes, 32.
90. "Herb Sorrell Presents . . ."
91. The New York Times, July 29, 1941.
92. JD, 7.
93. Sorrell Oral History, 143.
94. Women also worked as film laboratory technicians, but their jobs within the film laboratories were highly restricted based upon a gendered division of labor.
95. "Employment of Women in California," Division of Labor Statistics and Law Enforcement Dept. of Industrial Relations, June 1942-June 1947.
96. No statistics are available; this estimate reflects two fectors: 1) the number of total women in the industry was roughly split in half, with one half belonging to the CSU, and the other half belonging to IATSE; 2) the CSU represented about 40% of all studio workers in the early forties.
97. PM Magazine, Sept. 2, 1945; Daily Variety, Mar. 13, 15, 1945; Daily Variety, July 30 1945.
98. PM Magazine, Sept. 2, 1945; Daily Variety, Mar. 13, 15, 1945; Daily Variety, July 30 1945.
99. PM Magazine, Sept. 2, 1945; Daily Variety, Mar. 13, 15, 1945; Daily Variety, July 30 1945.
100. Lindelof to Green, from JD, 1938-41.
101. Edward L. Barrett Jr., The Tenney Committee: Legislative Investigation of Subversive Activities in California (Ithaca: Cornell University Press, 1951), 44.
102. California, Joint Fact-Finding Committee on Un-American Activities in California, Un-American Activities in California, Report of the Joint Fact Finding Committee on Un-American Activities in California to the California Legislature, 1947, 173.
103. Barrett, The Tenney Committee, 44.
104. Ibid.
105. Larry Ceplair and Steven Englund, The Inquisition in Hollywood: Politics in the Film Community 1930-1960 (Garden City: Doubleday, 1980), 158; Variety, July 31, 1941.
106. Larry Ceplair and Steven Englund, The Inquisition in Hollywood: Politics in the Film Community 1930-1960 (Garden City: Doubleday, 1980), 158; Variety, July 31, 1941.
107. Los Angeles Daily News, July 31, 1941 taken from JD, 1959-60.
108. Headlines and quote taken from Ceplair and Englund, 158.
109. Daily Variety, August 1, 1941. During the 1940s, Tenney kept after Sorrell and in 1947 pronounced that he was in fact a member of the Communist Party. Similarly, both Roy Brewer, Bioff's replacement in IATSE, and Walt Disney testified before the House Un-American Activities Committee regarding Sorrell's alleged radicalism. Sorrell always denied membership in the Communist Party explaining that while Communists were helpful during strikes their ideological fervor was problematic. California, Joint Fact-Finding Committee on Un-American Activities in California, Un-American Activities in California, Report of the Joint Fact Finding Committee on Un-American Activities in California to the California Legislature, 1947, 173; JD, 1880. For a good discussion of the evidence which indicates that Sorrell was not a member of the Communist Party, see John Cogley, Report on Blacklisting, Volume I, Movies (NY: Fund for the Republic, 1956), 34. In his oral history, Sorrell also explains the reasons for his rejection of the Communist Party, Sorrell Oral History, 208-211.
110. Daily Variety, August 1, 1941. During the 1940s, Tenney kept after Sorrell and in 1947 pronounced that he was in fact a member of the Communist Party. Similarly, both Roy Brewer, Bioff's replacement in IATSE, and Walt Disney testified before the House Un-American Activities Committee regarding Sorrell's alleged radicalism. Sorrell always denied membership in the Communist Party explaining that while Communists were helpful during strikes their ideological fervor was problematic. California, Joint Fact-Finding Committee on Un-American Activities in California, Un-American Activities in California, Report of the Joint Fact Finding Committee on Un-American Activities in California to the California Legislature, 1947, 173; JD, 1880. For a good discussion of the evidence which indicates that Sorrell was not a member of the Communist Party, see John Cogley, Report on Blacklisting, Volume I, Movies (NY: Fund for the Republic, 1956), 34. In his oral history, Sorrell also explains the reasons for his rejection of the Communist Party, Sorrell Oral History, 208-211.
111. Daily Variety, August 1, 1941. During the 1940s, Tenney kept after Sorrell and in 1947 pronounced that he was in fact a member of the Communist Party. Similarly, both Roy Brewer, Bioff's replacement in IATSE, and Walt Disney testified before the House Un-American Activities Committee regarding Sorrell's alleged radicalism. Sorrell always denied membership in the Communist Party explaining that while Communists were helpful during strikes their ideological fervor was problematic. California, Joint Fact-Finding Committee on Un-American Activities in California, Un-American Activities in California, Report of the Joint Fact Finding Committee on Un-American Activities in California to the California Legislature, 1947, 173; JD, 1880. For a good discussion of the evidence which indicates that Sorrell was not a member of the Communist Party, see John Cogley, Report on Blacklisting, Volume I, Movies (NY: Fund for the Republic, 1956), 34. In his oral history, Sorrell also explains the reasons for his rejection of the Communist Party, Sorrell Oral History, 208-211.
112. Daily Variety, August 1, 1941. During the 1940s, Tenney kept after Sorrell and in 1947 pronounced that he was in fact a member of the Communist Party. Similarly, both Roy Brewer, Bioff's replacement in IATSE, and Walt Disney testified before the House Un-American Activities Committee regarding Sorrell's alleged radicalism. Sorrell always denied membership in the Communist Party explaining that while Communists were helpful during strikes their ideological fervor was problematic. California, Joint Fact-Finding Committee on Un-American Activities in California, Un-American Activities in California, Report of the Joint Fact Finding Committee on Un-American Activities in California to the California Legislature, 1947, 173; JD, 1880. For a good discussion of the evidence which indicates that Sorrell was not a member of the Communist Party, see John Cogley, Report on Blacklisting, Volume I, Movies (NY: Fund for the Republic, 1956), 34. In his oral history, Sorrell also explains the reasons for his rejection of the Communist Party, Sorrell Oral History, 208-211.
113. AH Handbills, which were drawn by Gene Price, come from Jack Kistner, The Story of the Hollywood Film Strike in Cartoons (Los Angeles: no publisher, undated). The collection of handbills, located in the Research Library at UCLA, was published by the Strike Strategy Committee of the Conference of Studio Unions.
114. "The Picket Line," April 9, 7, and 3, 1945, from JD, 2344-45.
115. Nielsen & Mailes, 129.
116. Conrad Seiler, "Hollywood Rebellion," New Republic, 113 (Nov. 5, 1945), 577-79.
117. Gates Ward, "Rhapsody in Black and Blue," Nation, 116 (October 20, 1945), 395-96; Daily Variety, October 8, 1945.
118. Gates Ward, "Rhapsody in Black and Blue," Nation, 116 (October 20, 1945), 395-96; Daily Variety, October 8, 1945.
119. Photographs courtesy of Hearst Collection, Los Angeles Examiner, Dept. of Special Collections, Univ. of Southern California Library.
120. The New York Times, Oct. 25, 1945; JD, 1047, and 13.
121. JD, 1047.
122. The Daily People's World was the West Coast organ for the Communist Party. Editorials such as "End the Movie Strike At Once" appeared often in the paper. See, for example, the March 15, 1945 front page story. For a discussion of the position of the Communist Party see Nielsen & Mailes, 94-96.
123. Flashes, April, Dec. 1945.
124. At the same time, the wage dispute was clouded by a jurisdictional dispute between machinists who were members of the CSU and machinists who were affiliated with IATSE. The New York Times, July 3, 1946;
125. Hollywood Reporter, July 3, 1946.
126. The New York Times, July 2, 1946.
127. Ibid., July 3, 1946
128. Ibid.; JD, 1146;
129. Hollywood Reporter, July 3, 1946.
130. Time, July 15, 1946.
131. Business Week, July 13, 1946.