The construction of photojournalists in American film, 1928–39

The existing research that addresses the depiction of photojournalists in popular culture focuses primarily on stereotypical characters and assessments of their distorted reflections of ‘reality’. In contrast, this article considers elements of popular cultural practices produced under specific social, economic, and political conditions that may provide useful insights into the actual lived experiences of photojournalists. Framed from a cultural materialist perspective, this research suggests that American films are cultural artifacts that offer documentary evidence as to the actual working conditions of photojournalists. Specifically, this research project focuses on the construction of photojournalists in 20 American films, in which photojournalists and cameramen appear as central characters, produced during the late 1920s and 1930s. The insights gained from the films are also evaluated through a lens of scholarly and trade literature about photojournalism written during the beginning of the 20th century. K E Y W O R D S j authenticity of images j cultural materialism j Hollywood film j photographers and cameramen j popular culture j stereotypical depictions j visual culture Photography does not simply reproduce the real, it recycles it. (Susan Sontag, 1999) Film as a cultural practice The ascendance of visual culture in the United States during the early decades of the 20th century is aligned with tremendous technological changes that encourage the dissemination of communication messages on a scale not previously available. Millions of individuals have access to popular films