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 357 completely neutral in regard to what nnion is entitled to do what work. But Avhere an agency has been set up and where a labor dispute between unions has been to arbitration, we are bound to support the principle of arbitration and we will support whoever is abiding by that arbitration agreement, and we will oppose anyone who is seeking to overthrow that arbitration award. I might add, sir, that if in Chicago we had been told that the situation was reversed — if we had been told it was the lATSE who refused to abide by this arbitration award, we would have been just ns vigorous in our action in opposition to them. Mr. Somerset. If we knew what was said at that time. I would like to add if we had known that the three arbitrators meant what they apparently meant when they were on the stand yesterday, and if they had said to us and made it clear to us that that is what they meant in Chicago, I can assure you on my oath that all six of us would have gone back and made a very, very different report to our membership. Mr. Kearns. Do you have any other questions, Mr. Counsel ? Mr, McCann. I have a question which is submitted by Mr. Verne Mahan, of the University of California, at Los Angeles; and, Mr. Chairman, in regard to this question, I wish to say that the university has been conducting, under a foundation, a study of this strike situation for a good many months, and I have introduced its report in evidence for reference purposes. I think this question has been answered in the last minute, but I am going to ask it again. Mr. Kearns. Why ask it again ? Mr. McCann. I want to see if it is answered, or if it is not. If it is, the witness can refuse to answer. In view of the arbitration committee's testimony at the hearing about their intentions in the December directive, what is your position with respect to that directive now ? Mr. Reagan. Well, sir, the day before yesterday I thought it was one thing, but yesterday afternoon we heard the three men testify that they had no intention of taking away from the carpenters that which was historically their jurisdiction, and at the same time they had no intention of taking away from the lATSE that which was historically their jurisdiction. Now, sir, you figure it out from there. We were told in Chicago that the historical jurisdiction of the lATSE was, in the motion-picture studios, the erecting of motion-picture sets. Mr. McCann. That completes the questioning, gentlemen. I "^ill now Mr. Kearns. I have some questions. Mr. McCann. Please excuse me, Mr. Chairman. Mr. Kearns. Actors, if they get employment on the sets, as you said — if there is work to be done — probably make a little bit more money than most of the fellows around the lot ? Mr. Arnold. But they don't have as much left, Mr. Congressman. Mr. Kearns. Well, none of us has too much left. I would like to have you tell me what is the attitude of most of the workers around the lot toward the actors. I go back to the old days. I remember, as a young fellow I went down to the Metropolitan Opera House one morning and I was watching Antonio Scotti, the great baritone, rehearse,