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Author: U.S. TENNESSEE VALLEY AUTHORITY.
Publisher:
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Category :
Languages : en
Pages :
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Author: U.S. TENNESSEE VALLEY AUTHORITY.
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Author:
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Category : Natural resources
Languages : en
Pages : 400
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Category : Periodicals
Languages : en
Pages :
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Author: Tennessee Valley Authority. Regional Studies Staff
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Category : Tennessee River Valley
Languages : en
Pages : 28
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Author: Andrea R. Bennett
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Category :
Languages : en
Pages :
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Author: Tennessee Valley Authority
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Category : Government publications
Languages : en
Pages : 258
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Author: United States. Congress. Joint Committee to Investigate Tennessee Valley Authority
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Category :
Languages : en
Pages : 424
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Author:
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Category :
Languages : en
Pages : 5
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Author: Andrea R. Bennett
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Category :
Languages : en
Pages : 220
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Author: Laura Sivert
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Category :
Languages : en
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In the 1930s, the United States government embarked on several large-scale infrastructural water projects largely constructed by the Army Corps of Engineers and the Bureau of Reclamation. In May of 1933, a new Act created the Tennessee Valley Authority (TVA) to build a series of dams in the Tennessee River watershed that spanned seven states. From its inception, the TVA was controversial because it changed the influence that private business had over water rights, and paved the way for government regulation of electricity prices. This dissertation situates the visual dissemination of the TVA dams project through an examination of the role of its publicity as a modernizing tool in mid 20th - century America. Much scholarly work has explored the Tennessee Valley Authority from the perspective of its socio-economic effects and its contentious ecological ramifications, yet the Authority's rich visual culture has escaped prolonged scholarly engagement. This is surprising considering that the TVA was an explicitly visionary enterprise, time and again enlisting photographers to illustrate articles and books that would reach and teach citizens of the Tennessee Valley, the country, and other nations, about the modernizing goals of the project. The TVA promoted its projects via posters, documentary photographs and film, paintings, post cards, museum exhibitions, fair exhibitions, journals and newspaper articles. As the images shifted, so did the understanding and approval of the project, but the images needed to change frequently to keep up with public opinion. Public perception altered the way the TVA sought out a targeted audience in order to gain approval for a project that was constantly fighting legal battles in the Supreme Court (and more emotional battles in the impoverished and segregated rural south). The TVA blossomed during and after the Great Depression, but its endeavors in the fine arts and visual culture resonate beyond the immediate context of the New Deal. These activities point to a re-thinking of the very concept of modernization. My research explores the confluence of these differing ideals and also their shifting focus--in all their richness and contradictions. Using the material cited above, I aim to investigate how the TVA defined its politics and asserted its agenda through visual means.
