Book Reviews

2014 ◽  
Vol 52 (2) ◽  
pp. 540-541

Matthew Jaremski of Colgate University reviews “The Great Depression of the 1930s: Lessons for Today”, by Nicholas Crafts and Peter Fearon. The Econlit abstract of this book begins: “Fourteen papers present an introduction to the Great Depression as it affected the advanced countries in the 1930s. Papers discuss depression and recovery in the 1930s—an overview; the 1930s—understanding the lessons; Europe's Great Depression—coordination failure after the First World War; reparations, deficits, and debt default—the Great Depression in Germany; disintegration of the international economy between the wars; the political lessons of Depression-era banking reform; the banking panics in the United States in the 1930s—some lessons for today; can contractionary fiscal policy be expansionary?— consolidation, sustainability, and fiscal policy impact in Britain in the 1930s; U.S. monetary and fiscal policy in the 1930s; what was new about the New Deal?; labor markets in recession and recovery—the United Kingdom and the United States in the 1920s and 1930s; economic growth and recovery in the United States—1919–41; ““blood and treasure''—exiting the Great Depression and lessons for today; and fetters of gold and paper. Crafts is Professor of Economic History and Director of the Economic and Social Research Council Research Centre, Competitive Advantage in the Global Economy, at the University of Warwick. Fearon is Emeritus Professor of Modern Economic History at the University of Leicester.”

Author(s):  
John Kenneth Galbraith ◽  
James K. Galbraith

This chapter examines the lessons of World War II with respect to money and monetary policy. World War I exposed the fragility of the monetary structure that had gold as its foundation, the great boom of the 1920s showed how futile monetary policy was as an instrument of restraint, and the Great Depression highlighted the ineffectuality of monetary policy for rescuing the country from a slump—for breaking out of the underemployment equilibrium once this had been fully and firmly established. On the part of John Maynard Keynes, the lesson was that only fiscal policy ensured not just that money was available to be borrowed but that it would be borrowed and would be spent. The chapter considers the experiences of Britain, Germany, and the United States with a lesson of World War II: that general measures for restraining demand do not prevent inflation in an economy that is operating at or near capacity.


Author(s):  
Brian Neve

This chapter revisits and explores the production history of director King Vidor’s independently made movie, Our Daily Bread (1934), its ideological and aesthetic motifs, and its exhibition and reception in the United States and beyond, not least its apparent failure at the box office. It further considers the relationship between the film and contemporary advocacy of cooperative activity as a response to the Great Depression, notably by the California Cooperative League, Franklin D. Roosevelt’s New Deal, and Upton Sinclair’s End Poverty in California campaign for the state governorship. It also assesses the movie in relation to Vidor’s own cooperative vision through its emphasis on individuals and community as a solution to the Great Depression and the significant absence of the state in this agency.


Author(s):  
Alanís Enciso Fernando Saúl ◽  
Russ Davidson

The introduction provides the reader with an historical overview of the Cardenas administration’s attempts to orchestrate an organized repatriation of its citizens from the United States during the years of the Great Depression. The introduction also endeavours to describe how Alanis Enciso’s overview of Mexican repatriation under the Cardenas administration differs from similar analyses, and how each of these works has influenced but ultimately differs from Enciso’s own book.


Author(s):  
Colin Root

Precisionism was a modernist art movement during the 1920s and 1930s in the United States, in which painters produced a ‘‘machine aesthetic’’ by rendering precise, geometrical forms in their works. A group of American painters originally called ‘‘The Immaculates,’’ the Precisionists celebrated new industrial landscapes of skyscrapers, factories, bridges, and other mechanized phenomena. Although they were never a formalized school and worked without a manifesto, Precisionism reflected both the exciting dynamism of the ‘‘Roaring Twenties’’ as well as the streamlined simplicity of the Great Depression. Their images produced an ambivalent attitude toward mechanization, at once praising its efficiency while condemning its dehumanization. Appearing immediately after a host of other influential modernist movements such as Cubism and Futurism, Precisionists merged the impulse toward abstraction with a photographically realistic eye. While no artist worked exclusively as a Precisionist, there were several for whom it was a formative style. Perhaps the most prolific artists who produced Precisionist works were Charles Sheeler, Charles Demuth, and Georgia O’Keeffe. Together, these three painters and several others created a distinctly American brand of imagery that was a celebration of nationhood as much as a celebration of mechanization.


Sign in / Sign up

Export Citation Format

Share Document