Endnotes

1  Nicholas Crafts and Peter Fearon, “Lessons from the 1930s Great Depression,” Oxford Review of Economic Policy 26, no 3 (2010): 286.

2 Richard E. Holl, “Food for Freedom,” in Committed to Victory: The Kentucky Home Front during World War II (Lexington: The University Press of Kentucky, 2015), 82.

3 Terrence H. Witkowski, “World War II Poster Campaigns: Preaching Frugality to American Consumers,” The Journal of Advertising 32, no. 1 (2003): 71; Andrea Kelley, “‘A Revolution in the Atmosphere’: The Dynamics of Site and Screen in 1940s Soundies,” Cinema Journal (2015):76; Sarah Frohardt-Lane, “Promoting a Culture of Driving: Rationing, Car Sharing, and Propaganda in World War II,” Journal of American Studies 46, no. 2 (2012): 342-343.

4 Witkowski, 71.

5 Caroline Cornell, “The Housewife’s Battle on the Home Front: Women in World War II Advertisements,” The Forum: Journal of History 2, no. 1 (2010): 31-34; Witkowski, 71.

6 Witkowski, 71.

7 Julie Human, “A Woman Rebels? Gender Roles in 1930s Motion Pictures,” The Register of the Kentucky Historical Society 98, no. 4 (2000): 406.

8 Michael T. Isenberg, “The Historian and the Myth of the ‘Objective Camera’: A Critique of Film Reality,” Teaching History: A Journal of Methods 1, no. 1 (1976): 10.

9 Andrea Kelley, “The Sites of Soundies: Exhibition, Technology, and Representation in 1940s Jukebox Films,” (Doctoral dissertation, Indiana University, 2015), 13.

10 Haidee Wasson, “The Other Small Screen: Moving Images at New York’s World Fair, 1939,” Canadian Journal of Film Studies 21, no. 1 (2012): 98.

11 Wasson, 85.

12 Leo Enticknap, “Film,” in Moving Image Technology: From Zoetrope to Digital (London: Wallflower Press, 2005), 22.

13 Andrea Kelley, “From Attraction to Distraction: The Panoram Machine and Emerging Modes of Multi-Sited Screen Consumption,” Continuum 28, no. 3 (2014): 333.

14 Sonnet Retman, “Memphis Minnie’s ‘Scientific Sound’: Afro-Sonic Modernity and the Jukebox Era of the Blues,” American Quarterly 72, no. 1 (2020): 83.

15 Retman, 83.

16 Retman, 81.

17 Kelley, “‘A Revolution in the Atmosphere,’” 77.

18 Retman, 83.

19 Retman, 83.

20 Kelley, “The Sites of Soundies,” 145.

21 Wasson, 89.

22 Kelley, “The Sites of Soundies,” 205.

23 Amy Herzog, “Discordant Visions: The Peculiar Musical Images of the Soundies Jukebox Film,” American Music 22, no. 1 (2004): 29-30.

24 Herzog, “Discordant Visions”, 29-30.

25 Gregory Lukow, “The Antecendents of MTV: Soundies, Scopitones, and Snaders, and the History of an Ahistorical Form,” in Art of Music Video: Ten Years After, ed. Michael Nash (Long Beach: Long Beach Museum of Art, 1991), 7.

26 Kelley, “From Attraction to Distraction,” 330-331.

27 Lukow, 7.

28 Kelley, “The Sites of Soundies,” 8.

29 Kelley, “From Attraction to Distraction,” 332.

30 Herzog, “Discordant Visions,” 27.

31 Herzog, “Discordant Visions,” 29-30.

32 Herzog, “Discordant Visions,” 27.

33 “Soundies,” UCLA Film and Television Archive, accessed July, 23, 2023, https://www.cinema.ucla.edu/sites/default/files/Soundies.pdf; Herzog, “Discordant Visions,” 30.

34 Lukow, 8.

35 Kelley, “‘A Revolution in the Atmosphere,’” 79.

36 Kelley, “‘A Revolution in the Atmosphere,’” 78; Ellen C. Scott, “Black Movement Impolitic: Soundies, Regulation, and Black Pressure,” African American Review 49, no. 3 (2016): 206.

37 Mark Cantor, “Gene Krupa and his Orchestra: ‘The Ace Drummer Man’ and his Three Panoram Soundies,” IAJRC Journal 43, no. 1 (2010): 38.

38 Scott, 205; Herzog, “Discordant Visions,” 28; “Soundies,” UCLA Film and Television Archive.

39 Cantor, 38.

40 Kelley, “The Sites of Soundies,” 10; Lukow, 7.

41 Kelley, “The Sites of Soundies,” 11.

42 Kelley, “The Sites of Soundies,” 211-212; Lukow, 7-8.

43  Kelley, “From Attraction to Distraction,” 332; Manohla Dargis, “How the Spirit and Charm of Soundies Offer a Bittersweet Vision of 1940s America,” The Independent (London, U.K.), June 21, 2020.

44 Kelley, “From Attraction to Distraction,” 332.

45 Kelley, “The Sites of Soundies,” 8.

46 Kelley, “The Sites of Soundies,” 13.

47 Kelley, “The Sites of Soundies,” 8.

48 Kelley, “The Sites of Soundies,” 101-102.

49 Kelley, “‘A Revolution in the Atmosphere,’” 88.

50 Kelley, “‘A Revolution in the Atmosphere,’” 90-92; Kelley, “The Sites of Soundies,” 19; “Soundies,” UCLA Film and Television Archive.

51 Kelley, “‘A Revolution in the Atmosphere,’” 89.

52 Kelley, “The Sites of Soundies,” 104.

53 Kelley, “‘A Revolution in the Atmosphere,’” 87.

54 Kelley, “‘A Revolution in the Atmosphere,’” 75-76; Scott, 209.

55 Kelley, “The Sites of Soundies,” 13, 113-114.

56 Sheri Chinen Biesen, “Enforcing the Motion Picture Production Code,” in Film Censorship: Regulating America’s Screen (New York: Columbia University Press, 2018), 60.

57 Biesen, 60.

58 Robert L. Boyd, “Residential Segregation by Race and the Black Merchants of Northern Cities During the Early Twentieth Century,” Sociological Forum 13, no. 4 (1998): 597.

59 McEuen, 10; Karl Lillquist, “Farming the Desert: Agriculture in the World War II-Era Japanese-American Relocation Centers,” Agricultural History 84, no. 1 (2010) : 97.

60 Thomas A. Guglielmo, “Fighting for Caucasian Rights: Mexicans, Mexican Americans, and the Transnational Struggle for Civil Rights in World War II Texas,” The Journal of American History 92, no. 4 (2006): 1212-1217.

61 Juan F. Perea, “Doctrines of Delusion: How the History of the GI Bill and Other Inconvenient Truths Undermine the Supreme Court’s Affirmative Action Jurisprudence,” University of Pittsburgh Law Review 75 (Summer 2014): 585.

62 Clayton R. Koppes and Gregory D. Black, “Blacks, Loyalty, and Motion-Picture Propaganda in World War II,” The Journal of American History 73, no. 2 (1986): 391-392.

63 Kelley, “The Sites and Soundies,” 10; Lukow, 7-8.

64 Kelley, “The Sites and Soundies,” 11, 166.

65 Kelley, “The Sites and Soundies,” 138, 166-170.

66 Kelley, “The Sites and Soundies,” 168.

67 Kelley, “The Sites and Soundies,” 163.

68 Kelley, “The Sites and Soundies,” 11.

69 Kelley, “The Sites and Soundies,” 8.

70 Herzog, “Discordant Visions,” 29-30.

71 Kelley, “‘A Revolution in the Atmosphere,’” 72; “Soundies,” UCLA Film and Television Archive.

72 Amy Herzog, Dreams of Difference, Songs of the Same: The Musical Moment in Film (Minneapolis: University of Minnesota Press, 2009), 44; Scott, 207; Kelley, “The Sites and Soundies,” 163.

73 Scott, 221.

74 Kelley, “The Sites and Soundies,” 183-187.

75 Human, 408; Biesen, 35-39.

76 Scott, 217.

77 Scott, 218.

78 Scott, 218-221.

79 Herzog, Dreams of Difference, 57; Kelley, “The Sites of Soundies,” 211-212.

80 Kelley, “The Sites of Soundies,” 9-10.

81 Kelley, “The Sites of Soundies,” 9-10, 227.

82 Kelley, “The Sites of Soundies,” 221.

83 Kelley, “The Sites of Soundies, 226-227.

84 Kelley, “The Sites of Soundies,” 227.

85 Lukow, 8-9.

86 Kelley, “The Sites of Soundies,” 235-236.

87 Herzog, Dreams of Difference, 65.

88 Kelley, “The Sites and Soundies,” 228.

89 Lukow, 8.

90 Kelley, “The Sights and Soundies,” 126.

91 Herzog, Dreams of Difference, 63.

92 Herzog, “Discordant Visions,” 28; Kelley, “From Attraction to Distraction,” 333.

93 Kelley, “From Attraction to Distraction,” 334.

94 Kelley, “‘A Revolution in the Atmosphere,’” 74; Herzog, “Discordant Visions,” 28.