Many Americans choose to forget the past brutalities of child labor. Unfortunately, the past does not disappear. Child labor did take place in the U.S. and the Carolina Cotton Mill photograph is a prominent witness. Lewis Wickes Hine is the artist behind this powerful photo, which was taken in the early 1900s (Dimock). Hine’s Carolina Cotton Mill embodies the struggle of child labor through the incorporation of situational information, artistic elements such as lines and space, and cultural values.
The purpose of this photograph is to display the young girl’s occupation, and one can glean information from the situation, clothing, and machinery surrounding the girl. Named as Sadie Pfeiffer, the young girl works as a spinner at a loom in North Carolina (Sadie…). Adding to the scene is the girl’s appearance and the woman standing in the background. Wearing a seemingly dirty apron and wrinkled dress the girl appears disheveled and worn-out. In contrast, the woman in the back is sporting a more put together outfit, specifically a long-sleeved dress and apron, perhaps indicating her superiority of rank as supervisor or overseer. Lastly, the focus on the girl has major impact. This impact is seen in the blurriness of the other woman in contrast to the girl’s clarity. Hine most likely captured this
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picture in such a way to emphasize the importance of Sadie. In short, taking a closer look into the life of this young girl’s life reveals more than meets the eye. The artistic elements of color, lines, and space allow for a deeper understanding of the photograph. A dominant element of this photograph is the coloring. While unintentional, the shades of black, grey, and white reflect the dreariness of the situation. Lines provide the viewer’s eye with a path to follow. For instance, the loom creates a leading line, directing to the girl. The girl and the wall are vertical lines, in contrast to the horizontal line of the loom. In addition to color and lines, space allows the viewer to process what the photograph is exhibiting. The girl and the loom occupy the positive space of the photo. Likewise, both the wall and ground provide negative space that combats the complexity and domination of the loom. In comparison to the girl, the enormity of the loom and room dominates the photo making her appear small and fragile. In summary, the accumulation of artistic components created a work of art that tells a story as well as pleases the eye. The history of the artist, child labor, and arguments for child labor provide insight into the purpose behind the Carolina Cotton Mill. Hine traveled throughout the country compiling various photographs that depicted the despondent lives of child laborers as an investigative photographer for the NCLC (Dimock). Child labor was so common that “in 1900 eighteen percent of all American workers were under the age of sixteen” (Child labor). Unfortunately the health of the children was often at risk, and they were often susceptible to injuries. Despite this cruel reality for children, many businesses and working class parents fought against anti-child labor laws because they viewed child labor to be lucrative and effective (Dimock). All things considered, child labor was eventually determined to be a cruel and demeaning practice as shown through Hine’s photographs. Meaningful circumstances, lines and space, and the outlook of society came together in the Carolina Cotton Mill to produce an unforgettable image of child labor.
This impactful photograph is the result of an emphasis placed upon the appearance, situation, and story of a young girl. The Carolina Cotton Mill tells the tale of hardships faced by child laborers. Sadie Pfeiffer became a representative for all children who were forced to mature sooner than should have been expected of them. In the final analysis, Hine provided the world with an illustration that spoke of the challenges faced by America’s children and prompted awareness of the inhumanity that was child
labor.
What would one expect to be the sentiment of a young women who worked in the Lowell textile mills? It is just such a depressing story; and the sad heroines are the young women of Lowell - Lucy Larcom- who Stephen Yafa portrays in his excerpt “Camelot on the Merrimack.” A perception through the eyes of a thirteen-year-old Lucy Larcom reveals that, “For her and the other young girls, the long and tedious hours they spent tending to demanding machines robbed them of their childhood.” The imagery in “Camelot on the Merrimack,” from Big Cotton by Stephen H. Yafa disclose the working conditions in those sordid mills.
A multitude of mills going up created back water which hindered the mill’s wheels from turning more freely, but with more competitors came more jobs to the area. In addition to more work came the need for more workers. Francis Lowell of Massachusetts decided to make a wholesome atmosphere to attract young country women to his mill to work. He offered wholesome living with room and board, decent pay, strict rules, and curfews to enforce the safety of the girls that worked for him. These workers came to be known as the “Lowell girls”.
This ESSAY discusses the female Lowell factory worker as portrayed in the Offering. Although the magazine never expressed an overtly feminist view of the factory girls' condition, nor invoked a working-class consciousness similar to later labor expressions in Lowell, there is evidence of a narrative strategy and ideology speaking both to the factory women and the middle-class readership outside of the mill town. The paper's short stories, epistolary narratives and commentaries seek to legitimize an operatives' role within the feminine ideal of domesticity. In conforming to the norms of feminine literature, the Offering reconstructs the operatives' character. It subordinates the evidence for independence or autonomy to relate stories of familial or sentimental ties binding the factory girl to the world outside of factory life. The magazine sought to provide an answer to this question: given her new liberties, what kept the "factory girl" from losing contact with her moral sentiments?
Throughout Kelley’s speech, she utilizes imagery to help prove her view that child labor is wrong. She points out that while “we sleep” there are “several thousand little girls… working in the textile mills, all the night through, in the deafening noise of the spindles and the looms spinning and weaving cotton and wool.” The listener of the speech can visualize the dreadful scene in which thousands of little girls are working in the textile mills. This imagery evokes a sense of sorrow from the listener. Also, the word “deafening” adds to the listener’s understanding that not only are young children working, but they are working dangerous and dreadful jobs. She also depicts an image of a girl who “ on her thirteenth birthday” could work from “ six at night until six in the morning.” This detail suggests that there is little happiness in the lives of these young children
"Forgiveness" and "racism" are two words that usually do not go together. Surprisingly enough Picking Cotton tells the story of how Jennifer Thompson and Ronald Cotton showed the upmost forgiveness for a wrongful conviction that in part was caused due to the racism. Racism was surely present in the South in the early 1900 's, but historically one does not think racism was a major issue in the 80 's. In one man 's opinion, Ronald Cotton, the Burlington police had racist views that contributed to him serving a life imprisonment for a crime he never committed. In 1984 when two white women were raped by a black man, race played a role in convicting the wrong black man in Burlington, North Carolina. Ronald Cotton was wrongfully convicted by racism
Kelley uses the logic brought up by such questions to emphasize how giving women the right to vote is a good vote can help end child labor. Another example of this is her description of a little girl who, “on her thirteenth birthday, could start away from her home at half past five in the afternoon, carrying her pail of midnight luncheon”. The emphasis on the innocence of children portrays the pity and sympathy that the audience should feel. She creates a scenario that seems much too real when she says “The children make our shoes in the shoe factories; they knit our stockings, our knitted underwear.
You can only see the young girl at the bottom of her dress, along with her legs and feet. Her feet are in dirt, and you can see a plow in front of her. The girl has no shoes on, plowing the fields in Alabama. From the photograph, you can tell by her feet and legs that she is a young girl. The young girl being shoeless shows that she is poor.
She was now getting into the field of labor agitation and would change America forever. In 1903, she organized a march in which children, mutilated from their jobs, marched the streets to the home of Theodore Roosevelt in order to draw attention to the grueling and wicked child labor laws. “Federal laws against child labor would not come for decades, but for two months that summer, Mother Jones, with her street theater and speeches, made the issue front-page news.” This shows how after several attempts from previous progressive reformers, Jones was the only one whose protests were powerful and effective enough to open people’s eyes to the issues. A reason that Jones had become so effective was that of her exploration and observations. She frequently visited factories to observe the cruel working conditions in which people worked in and interviewed workers to get a feel for them and understand the brutality of the work. She stated herself that because of rough conditions, “The brain is so crushed as to be incapable of thinking, and one who mingles with these people soon discovers that their minds like their bodies are wrecked. Loss of sleep and loss of rest gives rise to abnormal appetites, indigestion, shrinkage of statue, bent backs and aching hearts.” By examining workplaces, she was able to gather empathy and sympathy for the workers who were suffering.
In the early years while the profits were high working conditions looked promising to the mill girls in their brief opening experiences of factory work. Jobs required little skill because the machinery was mostly self-acting. It looked very pleasant at first, the rooms were so light, spacious, and clean, the girls so pretty and neatly dressed, and the machinery so brightly polished or nicely painted (Harriet Farley, Letters from Susan, Letter Second).
With the gradual advancements of society in the 1800’s came new conflicts to face. England, the leading country of technology at the time, seemed to be in good economic standing as it profited from such products the industrial revolution brought. This meant the need for workers increased which produced jobs but often resulted in the mistreatment of its laborers. Unfortunately the victims targeted were kids that were deprived of a happy childhood. A testimony by a sub-commissioner of mines in 1842 titled Women Miners in the English Coal Pits and The Sadler Report (1832), an interview of various kids, shows the deplorable conditions these kids were forced to face.
In her essay, “Loopholes of Resistance,” Michelle Burnham argues that “Aunt Marthy’s garret does not offer a retreat from the oppressive conditions of slavery – as, one might argue, the communal life in Aunt Marthy’s house does – so much as it enacts a repetition of them…[Thus] Harriet Jacobs escapes reigning discourses in structures only in the very process of affirming them” (289). In order to support this, one must first agree that Aunt Marthy’s house provides a retreat from slavery. I do not. Burnham seems to view the life inside Aunt Marthy’s house as one outside of and apart from slavery where family structure can exist, the mind can find some rest, comfort can be given, and a sense of peace and humanity can be achieved. In contrast, Burnham views the garret as a physical embodiment of the horrors of slavery, a place where family can only dream about being together, the mind is subjected to psychological warfare, comfort is non-existent, and only the fear and apprehension of inhumanity can be found. It is true that Aunt Marthy’s house paints and entirely different, much less severe, picture of slavery than that of the garret, but still, it is a picture of slavery differing only in that it temporarily masks the harsh realities of slavery whereas the garret openly portrays them. The garret’s close proximity to the house is symbolic of the ever-lurking presence of slavery and its power to break down and destroy families and lives until there is nothing left. Throughout her novel, Incidents in the Life of a Slave Girl, Harriet Jacobs presents these and several other structures that suggest a possible retreat from slavery, may appear from the outside to provide such a retreat, but ideally never can. Among these structures are religion, literacy, family, self, and freedom.
According to the article “A History of Child Labor” reviewed by Milton Fried, a child could work as long as six days a week for up to 18 hours a day, and only make a dollar a week. Child labor was nothing but cheap labor. The big companies loved cheap labor because then they could make an item for not very much money, and make a huge profit margin. Fried continues to state how cheap the labor was, “One glass factory in Massachusetts was fenced with barbed wire ‘to keep the young imps inside.’ These were boys under 12 who carried loads of hot glass all night for a wage of 40 cents to $1.10 per night.” Unlike, children today who are in bed sleeping by 8 pm each night, these children had to stay up all night working to make just enough income for their families. Sadly, the children had no choice but to work for very little pay. Their mothers and fathers made so little money in the factory system that they couldn’t afford to let their children enjoy their childhood: “Other working children were indentured—their parents sold their labor to the mill owner for a period of years. Others lived with their families and worked for wages as adults did, for long hours and under hard conditions” (Cleland). The child had no other choice, but to work for these big
First, the scene in the image was manipulated through stage-managing, a common practice in photojournalism. While the image of the migrant mother, Florence Thompson, appears to the viewer to be a genuine and unprompted look at the hardship and deprivation of a dejected migrant woman. This, of course, was the reality of Ms. Thompson’s personal situation at the time. But the scene itself was micromanaged to appear in a lucid and vivid form in the image, including editing Ms. Thompson’s older children from the image to create the more poignant scene of a mother holding a small child and using a pose in which the woman is looking out into the distance, with the two children told to lo...
In the Child Labor in the Carolinas, photos and depictions of children working in mills show how working class children did not have the opportunities to branch out and have a childhood as defined by today’s standards. Though the pamphlet creators may have been fighting for better standards for child labor in textile mills of the Carolinas, they simultaneously show how working class families depended on multiple members to support the family: in “Chester, South Carolina, an overseer told me frankly that manufacturers [in] all the South evaded the child labor law by letting youngsters who are under age help older brothers and sisters” (McElway, 11). Children were used because they were inexpensive labor and were taken advantage of in many ways because they were so...
“Child Labor in U.S. History.” Child Labor Public Education Project. 2011. Web. 2. April. 2014