Jurisdictional disputes in the motion-picture Industry : hearings before a special subcommittee of the Committee on Education and Labor, House of Representatives, Eightieth Congress, first-session, pursuant to H. Res. 111 (1948)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

MOTION-PICTURE JURISDICTIONAL DISPUTES 45 they were on strike there was no employment in this particular community for them. Scenic artists — I don't know. I am advised they are kept busy and Avorking quite regularly. Mr. McCann. Is there anybody in the studio at all that isn't unionized, that has a job out there in any way, shape, or form? Mr. Mannix. Yes : speaking for myself, I am not unionized ; I am an executive. Mr. McCann. You haven't joined the teamsters' union? Mr. Mannix. I am about to form an association. There are very few people in the studios not members of some union. Mr. McCann. Not long ago the teamsters represented to our committee in Pittsburgh they had a right to take employers in, and if there were two partners, one of them should be forced to join the teamsters. Mr. Mannix. Who would the other one join? Mr. McCann. One w^ould picket the other one. Mr. Mannix, the committee is concerned with the men without employment— the men out of work — the men who have been completely dispossessed, you might say, as a result of this struggle. I want to know how many people there are in the studios who are really in want, if you know, as a result of this friction, I know Mr. Hutcheson hasn't lost any salary about this thing. I know Mr. Walsh hasn't lost any. How many men out there have lost their pay — their jobs? Mr. Mannix. Where each one lost, another one was put on. You mean, how many men left the studios during the strike ? Mr. McCann. Yes. Mr. Mannix. Oh, I don't think I am qualified to answer. I would say, roughly, if you want me to guess, somewhere between 3,000 and 4,000 men in the industry. Mr. McCann. What percentage of those men are now employed, do .you think? Mr. Mannix. I couldn't answer that question. I think you have representatives here, business managers of the painters, and you have the business manager of the carpenters, and they keep a pretty close record of their members. They can tell you how many are employed and how many are not employed. Mr. McCann. Mr. Mannix, have you any practical solution to prevent such incidents as this from disrupting a great industry which this Congress might help with ? Mr. Mannix. I would hate to presume I could advise these laborunion men what to do, I have tried that over the period of years, but free advice, you know, is always bad advice. Mr. McCann. It might be worth something to Congress, if not t.o them. Mr. Mannix. Well, I would hate to sit here and lay out a rule for them. All I can say is that if there is a job in the lot, some man should get it. If it wasn't for this jurisdictional trouble we are having today, we would have a mean employment, I would say, of about 1,800 carpenters. Mr. McCann. I want to ask why it wasn't arranged between the unions involved in this controversy to have a roving group of arbitrators who could go around and say, "You drive this nail and you drive