In the January, 2012, issue of The Atlantic Monthly, there is a lengthy article on the future of American manufacturing entitled “Making it in America”.  In profiling an individual company called Standard Motor Products and a few employees performing manufacturing operations, particularly a 22-year-old single parent named Maddie Parlier, reporter Adam Davidson concludes that the company will continue to perform manufacturing operations in the United States, but it will do so only if it can continually compare the cost of employees versus automated technology, and extract the best economic value from the process.

Employees who do not have high levels of education and technical skill will be continually insecure and will be displaced if they are not continually keeping ahead of the marketplace.  The most painful point the reporter makes is that anyone who starts his or her work career with major family or other responsibilities will have difficulty keeping current with the skills needed.  Maddie Parlier is 22 years old, has completed high school, but has not gone beyond it, is a single mother, and has no spare time or money to take courses and upgrade her skills.  She will be vulnerable to a future replacement by technology.

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On December 31, 2011, I watched a Connecticut Public TV special called From Hitler to Hollywood. It caught my attention because it profiled the process by which the German and Central European film industry was built between the end of World War I and 1933, dismantled by Hitler because a significant part of the film industry participants were Jewish, and then recreated in Hollywood between 1933 and 1945.

There were several noteworthy insights from the program:

• The German and Central European film-makers were incredibly innovative, and they sparked the development of many features of American cinema that changed the films Americans saw, especially after World War II, when the industry was free to resume its normal kind of film-making.  Most noteworthy was the development of the “film noir” style of movie.  “Film noir” was a genre of film that usually was done in black-and-white, as opposed to color, presentation.  It was set in harsh urban settings, was a type of drama and action film, and often involved criminals or gangsters.  Films like The Asphalt Jungle, Dark Passage (which starred Humphrey Bogart and Lauren Bacall), and even On the Waterfront could be considered “film noir” movies.
• The filmmakers who emigrated from Germany and Central Europe created funds to help others trapped back in Europe come to the United States.  They not only sent money back to people trying to escape from Nazi-occupied countries, but helped them with contacts and created the equivalent of an “underground railroad” to enable people to get help crossing borders, hiding inside Nazi-occupied countries, and eventually finding their way to friendly countries.  Germany and the countries it occupied saw a huge drain on their artistic talent, but it would not have been as big of a drain as it turned out to be, had not American-based exiles provided a considerable amount of financial support.

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