On Strike and on Film: Mexican American Families and Blacklisted Filmmakers in Cold War America / Edition 1

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In 1950, Mexican American miners went on strike for fair working conditions in Hanover, New Mexico. When an injunction prohibited miners from picketing, their wives took over the picket lines—an unprecedented act that disrupted mining families but ultimately ensured the strikers' victory in 1952. In On Strike and on Film, Ellen Baker examines the building of a leftist union that linked class justice to ethnic equality. She shows how women's participation in union activities paved the way for their taking over the picket lines and thereby forcing their husbands, and the union, to face troubling questions about gender equality.

Baker also explores the collaboration between mining families and blacklisted Hollywood filmmakers that resulted in the controversial 1954 film Salt of the Earth. She shows how this worker-artist alliance gave the mining families a unique chance to clarify the meanings of the strike in their own lives and allowed the filmmakers to create a progressive alternative to Hollywood productions. An inspiring story of working-class solidarity, Mexican American dignity, and women's liberation, Salt of the Earth was itself blacklisted by powerful anticommunists, yet the movie has endured as a vital contribution to American cinema.

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Editorial Reviews

From the Publisher
Succeeds very well in binding the two stories of Hanover's Empire Zinc strike and the production of Salt of the Earth together. . . . A welcome addition to the literature on labour conflicts and cultural politics during the early Cold War.—American Communist History
From the Publisher
"An impressive first book that finally does justice to one of the most famous labor strikes of the Cold War era. . . . A revealing historical analysis of the intertwining worlds of labor, race, culture, and politics in Cold War America."
American Historical Review

"Succeeds very well in binding the two stories of Hanover's Empire Zinc strike and the production of Salt of the Earth together. . . . A welcome addition to the literature on labour conflicts and cultural politics during the early Cold War."
American Communist History

"Baker has written an excellent, refreshingly cross-disciplinary study of Mexican American families involved in the 1950 Empire Zinc strike . . . and the making of the 1954 film Salt of the Earth by blacklisted Hollywood artists."

"Rich in detail and scholarly rigor. . . . Surpasses other studies in presenting the complexity of the Salt of the Earth story."
New Mexico Historical Review

"Remarkable! . . . A solid example of what a community study should do: it should place the local in the context of the national in order to properly contextualize the analytical conclusions of the author."
Labor History

"An innovative treatment of the strike's ethnic roots and gendered character that provides a valuable addition to the fields of labor, ethnic, and women's history."
Journal of American Ethnic History

"The book reflects [Baker's] research into published sources, but she also interviewed a number of the key participants and used numerous archives, government records, and unpublished materials."
The Journal of American History

Baker accomplishes . . . clarity, nuance, and awareness.

Elizabeth Jameson, University of Calgary

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Product Details

  • ISBN-13: 9780807857915
  • Publisher: The University of North Carolina Press
  • Publication date: 3/12/2007
  • Edition description: 1
  • Edition number: 1
  • Pages: 368
  • Product dimensions: 6.00 (w) x 8.90 (h) x 0.90 (d)

Meet the Author

Ellen R. Baker is associate professor of history at Columbia University.

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Table of Contents


Chapter 1. Introduction
Chapter 2. Grant County's Mining District
Part I. Crisis
Chapter 3. Class Conflict in the Mines, 1930-1950
Chapter 4. Competing Models of Unionism
Part II. The Women's Picket
Chapter 5. Political Consciousness and Community Formation
Chapter 6. Household Relations
Part III. A Worker-Artist Alliance
Chapter 7. The Blacklist
Chapter 8. A Progressive Vision of Popular Culture
Chapter 9. Anticommunist Assaults
Chapter 10. Conclusion

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