"It's a Wonderful Life" and Iconic Realism

Photo from Google Images

The 1946 film, "It's a Wonderful Life," produced and directed by Frank Capra, illustrates iconic realism through the character of Clarence the angel. Here, an icon of virtue takes the good-hearted man, George Bailey, by the hand to show him the positive impact he has made on the consciousness of his hometown. This juxtaposition of the wealth in righteousness versus the poverty of the inane demonstrates how one individual's benevolent acts  can positively affect lives and ultimately the culture of that community. 

USNS Comfort and Samaritan's Purse Field Hospital in New York City and Iconic Realism

USNS Comfort in NY Harbor and Samaritan's Purse temporary hospital in Central Park, NYC from Bing Images

These two examples of iconic realism are now a true reality in New York City. How do they reflect this theory? 

The USNS Comfort is a Navy medical ship that has circled the globe helping other countries in their time of distress. This is the first time that this ship has been a necessity for the United States of America, used as a treatment center for those who need to be hospitalized, but are NOT afflicted with COVID-19. This iconic ship is here on the shores of New York, not a place usually associated with this kind of war effort. With this ship in port, we are all reminded of the seriousness of this health issue as well as the determination for We the People to rise against this invisible enemy. 

The Samaritan's Purse has helped people from around the world in their time of physical crisis. Again, the image of this iconic, temporary field hospital in the midst of Central Park illustrates the necessity of all people to do their very best to come to the aid of each other during this critical time in our lives. 

God Bless America, and God be with the healthcare workers as well as all who have come to the aid of those in need during this pandemic. 

Arthur Miller's 'The Crucible' and Iconic Realism

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In Arthur Miller’s play, The Crucible, characterization takes place within the parameters of a seventeenth century New England village. Yet, the message that Miller is sending to his audience parallels the political ramifications of the anti-communist hearings in the United States, when fear of communism heavily influenced the psychological landscape. He creates a series of events that illustrate iconic realism through his use of lighting, characterization and dialogue. As each member of the town accused of witchcraft is called to trial, the lighting and stage presence illuminates the audience to the author’s intention. Written in 1953, shortly after the anti-communist hearings, known as the House Committee on Un-American Activities,[1] each character could represent some facet of the House Committee’s representation, for actions by the House committee resembled those of the drama’s magistrates. 

However, the reality of the play is a seventeenth century New England village, during a time when actual witch hunts did take place. Miller admits to changing a few names and facts regarding the characters, “This play is not history in the sense in which the word is used by the academic historian… However... the reader will discover here the essential nature of one of the strangest...chapters in human history.”[2] Miller chooses a tale of human interaction to demonstrate his concern for the cultural future of the United States and humanity in general. (Lakatos 2009)

I wonder... Have some current politicians and media anchors read this play?  Somehow, I think not. 

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[1] Carr, Robert K. “The Un-American Committee.” The University of Chicago Law Review. 18.3 (Spring, 1951) 598-633.

[2] Miller, Arthur. The Crucible. (New York: Penguin Books, 1976) 2.