The relationship between journalists, writers, photographers and filmmakers during the Great Depression in the 19305 in the U.S. gave rise to fertile climate for the production of a powerful and recurring interweave of text and image. The photographs for the Farm Security Administration (FSA) affected the writers of the time and vice versa. Cinema would adapt in the way that it claimed ownership of the language of writers, journalists and photographers. Through a study of The Grapes of Wrath (novel by Steinbeck, film by Ford), the article focuses on the influence the FSA aesthetic had on contemporary modes of cinematic representation. Author: Rebeca Romero Escriva (Valencia, 1982) is a professor at the Valencian International University (VIU) where she teaches the Master in Cinematic Innovation and Project Development course. She also collaborates on specialized print publications such as Archivos de la Filmoteca. Revista de estudios historicos sabre la imagen, Cinema & Cie: International Film Studies Journal and Migraciones y exilios: Cuadernos de la Asociacion para el Estudio de los Exilios y Migraciorzes lbericos Contemporoneos. Contact: rebeca.romero@campusviu.es
