The notion of materiality is described as “that which constitutes the ‘matter’ of something” and as “extensions of man,” including any type of material whether or not it is formless. Marshall McLuhan’s underscores the materiality of media as a contentless and formless medium, yet still shaping and controlling human association and action. Material processes that construct media, such as printing and distribution, is an example of Raymond Williams’ insight into media and how it acts as a “social practice where any medium functions as a habitat rather than just as a specific material means of communication”.
Johnson’s thought and intentions behind his scripts and films represent his ideals and belief in potential change for the future of America. The old poster photos of his brother Noble and other African American actors he featured in his films, which I found in Special Collections, are non-moving images that stimulate our imaginations into picturing how the actors portrayed their race in a progressive light.
Johnson also mentions that he ran a weekly newspaper that printed at a white plant – it was the only Negro newspaper and he circulated it all around the United States. Tying it to Marshall’s ideas, I can see that working under the influence of a white plant is merely a medium that allows circulation and exposure, but the ideas and news within the paper are more than just “content” – it epitomizes whatever Negro news that Johnson accumulated by going around town himself, immersing himself in the culture and community of his people.
None of the old photos in the albums I flipped through had captions, dates, or names – or at least none that were visible. This further added to the mystery that I attribute to George P. Johnson, considering how only portions of his films exist and the rest were disintegrated over time. Each photo, captured by a camera and in turn producing a material object from the film, wasn’t necessarily taken for the purpose of communication as the purpose of capturing films was for him. It represents a habitat that he and his family existed in at the time, his legacy transcending time and his own existence; his actions forever influencing the future even if the photo itself no longer exists. Physically handling the delicate photos firsthand in Special Collections made me feel a connection to Johnson, as if I had interacted with his mark in history and experienced an extension of the film industry pioneer himself.