This essay explores the relationship of workers to the Hollywood system. It examines the role of film as a medium for social change and provocation—an important tool for marginalized figures of society. It outlines the crucial ways film influences the way people understand the world. It is most important, in fact, when dealing with issues about which people know very little. This argument substantiates Herbert J. Biberman’s own ideals about the necessity of film and proves the relevance of his efforts at self-expression and the articulation of a marginalized group.   By I. Cowles

This essay explores the 1947 House Committee on Un-American Activities persecution of a number of Hollywood figures—those suspected of Communist affiliations. The essay outlines the process through which the HUAC “hearings” produced a blacklist and ultimately gave rise to the imprisonment of the ‘Hollywood Ten,’ among whom was Herbert J. Biberman. The essay, however, casts a critical light on many of the members of the Hollywood Ten, arguing that many of them were, indeed, ultimately willing to compromise their political beliefs. He gives an un-traditional account of the HUAC hearings and those alleged Communists it pursued. Indeed, Eckstein ultimately writes this of the Hollywood Ten, “Martyrs, they are—but they are not innocent martyrs.” (433)By I. Cowles

This article, which begins by outlining Biberman’s persecution by HUAC and the Hollywood historical context which inspired the making of the film, criticizes “Salt of the Earth” for not referencing the industry more—it avoids popular culture references, which, Klawans believes weakens the argument of the film. By I. Cowles

New York Times article reviewing the film in 1954. Recognizes “Salt of the Earth” as little more than a portrayal of the Mexican miners and their straightforward revolt: it does not delve much more deeply into the theme of Biberman, Jerrico and Wilson’s need for self-expression in the face of the HUAC hearings (though the article does briefly mention the controversy). The film also recognizes the feminist undertones of the film. The article lauds “Salt of the Earth” as a well-made, “special interest film.” By I. Cowles