Abstract

“You Have Seen Their Faces”: Gisèle Freund, Walter Benjamin and Margaret Bourke-White as Headhunters of the Thirties Abstract This paper concentrates on one work by each of three authors: Walter Benjamin’s Deutsche Menschen (Germans), an anthology of twenty-five 18th and 19th century German personal letters; Margaret Bourke-White and Erskine Caldwell’s You Have Seen Their Faces; and Gisèle Freund’s collection of photographic portraits of writers and artists, compiled between 1936 and 1939. The purpose of this paper is to compare the politics of representation of these three figures and to examine the challenge they addressed to the dominant iconography of the 1930s. At the heart of each one’s work was a desire to bring about a shift in contemporary cultural politics by reimagining the body politic. Benjamin’s and Freund’s aim was to displace the monumentalizing, distancing, ‘heroic’ forms of fascist art and writing. They construct and project an intimate, or ‘domestic’ image of humanism as a form of social practice, past and present. Bourke-White’s aim was to bring to visibility an America concealed beneath the glossy homogenized images of white American advertising. All three authors aligned themselves with a documentary tradition that believed that representation should function as a constructed record of the traces of lived experience. Driven by a need to expose the other side’s deliberate falsifications of experience, they saw their own constructed fictions as ways of ‘documenting,’ and then perhaps transforming, an experiential world of ‘facts,’ bodies, and ‘truths.’ Working Paper 3:15 European Society and Culture Research Group. Center for German and European Studies, University of California at Berkeley. April 1994 37pp. M. Kay Flavell Critical Theory, University of California at Davis