A Fading Field of Gold

An Iowa native, Alyssa Andrews grew up on a diet of microwave corn dogs, Kraft Mac & Cheese, and other staples of the Midwestern middle-class. Her mouth watered at the thought of a pulled pork sandwich, and she dreamed about the next time she could get her hands on a six-piece McDonald’s chicken nugget. However, when she turned 17, Andrews began searching for the hidden consequences of these staples. While she found an ethical problem with eating meat, she also found ties between meat and Iowa’s most popular crop, corn.

When Andrews learned about modern meat production five years ago, she went vegan overnight and never looked back. In terms of reconstructing the Midwestern diet, Andrews is not alone. A 2019 Harris Poll conducted on behalf of the Vegetarian Resource Group revealed that 16% of Midwesterners sometimes or always eat vegan meals.

“Meat is supposed to cost a lot more,” Andrews said. “The government definitely subsidizes [feed]. It’s tough, and you don’t want to put farmers out of business. But in an ideal world, farmers would be able to switch over to more human food. Especially since big-time agricultural production is pretty bad for the eco-system.”

Miles and miles of golden stalks grace the open fields of America’s Corn State, which produces nearly 13 million acres of subsidized corn each year, according to Iowa Corn Growers Association. These fields of gold are viewed as the economic foundation of Iowa, providing jobs and ethanol for the state. However, Iowa vegans, researchers and farmers have begun uncovering this plant’s harmful effects on their environment.

According to the Global Change Data Lab, meat production has more than tripled in the past 50 years, and it has gotten cheaper. In a meta-analysis published in Science, researchers Joseph Poore and Thomas Nemecek found that livestock and fisheries accounted for 31% of food greenhouse gas emissions without considering land use. Poore and Nemecek also determined that land used for livestock contributed about 16% of additional food greenhouse gas emissions. According to NASA, these greenhouse gases trap in heat and warm the earth, causing adverse weather effects such as Iowa’s derecho.

Sylvia Secchi, Ph.D., University of Iowa associate professor of Geographical and Sustainability Studies, said the overproduction that has caused these greenhouse gas emissions is all thanks to corn. According to Secchi, about 50 percent of the corn Iowa produces becomes ethanol while the rest feeds the cows, pigs and other livestock.

“We’ve made those cows eat more corn, so we can produce more corn,” Secchi said. “It’s just with the policies we have right now the only thing we subsidize farmers for is corn and beans. Because the price of corn and beans is lower, it is cheaper to raise animals and the price we pay at the store is lower than it should be.”

Secchi said that corn subsidies caused Iowa to become economically dependent on the meat industry. Since corn feed is so cheap, both the consumer and the producer pay less for meat production. However, Secchi said the environment is paying the price for this cheap meat.

“The real cost to society of eating meat these days is not really what we pay at the store,” Secchi said. “The pollution costs, the air quality costs and water quality costs are not incorporated in the price of meat.”

While Secchi believes the corn and meat industries are harming the environment, an Iowa farmer’s son, Lane Brown, believes Iowans should look to other polluters.

“People think cows are [environmentally] dangerous,” Brown said. “Basically all they do is fart. If you look at it, cars and factories make cattle look like they’re nothing.”

Lane Brown grew up on his family farm which is located just outside Lenox, a small town in southwestern Iowa. Since he can remember, he has been feeding and raising calves. Brown’s family feeds their calves a corn-soybean byproduct, and they rely on Iowa’s corn production to feed their 200 calves. Once the calves are old enough, the Browns sell them to feedlots. Brown said he would prefer his family raise their calves and sell their meat directly to consumers like Secchi recommends, but it is not economically feasible.

“Ideally, the best way would be to raise the calves from start to finish,” Brown said. “But if you’re trying to fatten up a calf to get it to the weight where you can butcher it, it takes about a year and a half. And that first year and a half before you can make that full cycle, you’re going to have to pour an unbelievable amount of money [into it].”

While Brown’s family depends on the meat industry for income, he believes people should eat beef in moderation, along with other sources of protein.

“Personally, I don’t really care if someone eats [meat] or not,” Brown said. “People need to have a wide variety of a diet. I get that some people look at it and think ‘oh I can’t believe people can eat a calf or something.’”

Brown does not see the vegan or plant-based community in Iowa as a threat to his family’s financial wellbeing. However, he could see more people shifting toward plant-based diets.

“Right now they’re trying to grow burgers in factories and stuff, and I do feel like someday people are going to want to switch to that,” Brown said.

In agreement with Brown, Secchi does not advocate for dissolving the livestock industry.

“I think that vegan people have maybe a more extreme approach than most of us will be able to live with,” Secchi said. “But their heart is in the right place in that they are trying to reduce through their consumption our impact on the environment.”

Secchi is not a vegan or vegetarian herself, but she refuses to support farmers who participate in the feed lot system. She purchases her meat from local shops and Midwest farmers. She currently has half a pig in her freezer that she received from a small farmer in Minnesota. Grass-fed, locally-sourced meat consumption is not as harmful to the environment, Secchi said.

Thoma’s Meat Market in Iowa City is a local, independent shop that sources all its meat from Iowa with the exception of their chicken, which comes from Illinois. Manager Shawn Janes works full-time at the market and believes the shop offers the Iowa City area meat of higher quality.

“It kind of just gives you a closer connection to what you’re eating,” Janes said. “You’re not going into large feedlots where everything is filled with antibodies. It’s a higher quality of meat.”

Janes said the local market supports smaller farms that emit less greenhouse gas and hold themselves to higher ethical standards.

“It’s fueling the fields and farms around the area instead of stockpiling a bunch of cattle in one small area,” Janes said.

With environmentalists and vegans raising red flags about mass meat production, Iowa corn fields are no longer pure gold. However, farms from the 1920s may offer a brighter future for Iowa. In his 2006 book, The Omnivore’s Dilemma, journalist Michael Pollan raised concerns about Iowa’s focus on corn, and wrote about the impacts the crop has on the mass meat production. He points to Iowa farms in the 1920s, when corn was considered the fourth most common crops. Farmers grew a variety of crops such as apples, oats, potatoes, cherries, wheat, plums, grapes, and pears, Pollan wrote. 

Like Pollan, Secchi also believes Iowa farms like Brown’s could find economic, environmental and ethical prosperity by shifting away from corn feed. From her research, Secchi believes resistance to more varied crops has to do with tradition. One of her recent studies looked at farmers’ opinions of conservation and sustainable agriculture.

“I think that farmers are very scared because I think that these kinds of changes could really revolutionize the [agriculture] system,” Secchi said. “The average age for farmers is 50. You’ve lived your life using a certain production model. You’re older. Do you really want major scuttlebutt having to change the way you’ve done things?”

She would like to see more farms grow crops for people, not just livestock. Iowa used to grow onions near Bettendorf and melons in Muscatine, Secchi said.

“We’re not just the place where we grow corn and beans,” Secchi said. “What has happened is a lot of those farmers grow feed corn because they can make a lot more money.”

 Iowa could grow a variety of legumes, lentils and other plant-based proteins if the state was not so focused on corn, she said.

 “I’m not saying don’t subsidize farming,” Secchi said. “I’m saying subsidize farming differently.”

Big Industry in Iowa City: Continual decline in women in the UI Cinema major

With alumni working on large scale projects such as Game of Thrones and Avengers, the bright lights and big names tied to the University of Iowa’s Cinematic Arts program overshadowed the 18% drop in female enrollment in the department during the 2018-19 school year. 

The UI Office of the Registrar’s Profile of Students Enrolled reported 84 women and 112 men declared the Cinema major in fall 2018. Come spring 2019, the enrollment of women in the major dropped to 69 while the number of men rose to 125. Among the 13 women who dropped the major, junior and former Cinematic Arts major Olivia Williams grew tired of professors disregarding her opinions about misrepresentation in film. 

“There was just kind of a weird dynamic between men and women in that aspect,” Williams said. “It felt like there was no room for conversation about the dynamics between males and females in cinema. There was that male awkward silence if we wanted to talk about the male gaze which is heavily sexist and had a very toxic intent behind it.”  

During her year and a half in the cinema department, Williams said professors implied discussions about sexism in film were a waste of time. 

“[The girls in the class] wanted to create a discussion about the camera angles and how they apply to the objectification of women,” Williams said. “There’s this glass ceiling where you’re allowed to speak your opinions about things, but only so much until we feel like you’re making things uncomfortable.”  

While thankful for her time in the department, UI Cinematic Arts Alum and FilmScene Programming Director Rebecca Fons said she also felt frustrated with the lack of conversations in her cinema courses. During her time as a student in the early 2000s, Fons said she was one of two girls in the Cinema major. 

“We were sort of like exotic birds because we were the only two girls,” Fons said. “There were very few conversations about the women in film. We really didn’t talk about the femininity or the lack of female characters or the objectification of female characters. There is much more dialogue that kind of thing now.”  

Fons said the lack of minority representation in her film classes allowed her to seek out these voices on her own time. Following the #MeToo and #TimesUp movements, Fons said she noticed more of an effort to represent and showcase female voices in the industry. More filmmakers hire female or non-binary producers or editors to ensure fair representation in the industry, she said.  

To increase representation in the local arena, Fons began a FilmScene program called Women’s March which exclusively featured women and non-binary filmmakers during March in 2018 and 2019. However, this past spring Fons decided FilmScene should celebrate underrepresented filmmakers all year round and began a new series called Reel Representation.  

“Once a quarter, there will be some sort of presentation: a special guest or a five-part film series or maybe a panel that focuses on women and gender non-binary artists,” Fons said. “You can’t just say ‘Oh it’s Earth Day, so I’m going to recycle today and that’s it and the other 364 days of the year I’m not going to do it.’ It’s important to practice what you preach, and it’s important to put that effort into what you do all year round.”  

Both Williams and Fons said they felt a lack of conversation about social equality in their cinema courses. Assistant professor of Cinematic Arts and internationally recognized independent filmmaker Anahita Ghazvinizadeh said she does not initiate political conversations in her classes to keep her students focused on developing their craft. Ghazvinizadeh also strives to prevent pushing her world views on her students.  

“Unless you know how to make an effective film, all these views and beliefs will not be memorable and impactful in your work,” Ghazvinizadeh said. “I have really limited time to help my students get better at the craft. I think the way we communicate our world views through our stories.” 

Due to the controversies behind several successful contemporary filmmakers, discussions about sexism, racism and feminism still find their way into Ghazvinizadeh’s class, she said. However, Ghazvinizadeh encourages her students to focus on the work rather than the filmmaker, she said.   

Originally from Iran, Ghazvinizadeh finds herself grateful for the career opportunities and safety she has received in America, she said. Iranian culture and heritage labels women as inferior to men, and public spaces are often not safe places for women, she said.  

“Gratefulness is something I talk to my students about,” Ghazvinizadeh. “It’s good to be critical, but we shouldn’t become complainers and nag. Like people under the harshest circumstances can survive and find the things they are grateful for.” 

In the audio clip above, Cinematic Arts assistant professor Anahita Ghazvinizadeh discusses her experiences in Iran and how it’s impacted her teaching style and cinematic work.

Junior Cinematic Arts major Molly Bagnall said she believes fellow students with differing opinions and closed-minds are the main issue in the department. Students tend to disregard older films, thinking the issues do not apply to today’s culture, she said. While watching a screening of Bagnall’s favorite film “Vertigo,” directed by Alfred Hitchcock, her fellow students deemed the gender dynamics in the film as an outdated issue.   

“It sucks more when you’re in a classroom and you’re not sure how to respond,” Bagnall said. “A lot of time someone will say something that I find really upsetting, but it’s in an academic environment.”  

Bagnall serves as the Executive Director of Bijou Film Board, a student organization co-sponsored by the University of Iowa and FilmScene. Bijou works to expose students to films from a variety of genres, eras, filmmakers and more. The limited exposure students receive to diverse films is harming their film education and their understanding of the world around them, Bagnall said.  

“I want them to walk into a class screening about a weird documentary or an experimental film about feminism or about the gay-rights movement or about the black power movement and watch it and let the film say something to them,” Bagnall said.   

While Ghazvinizadeh believes it is important to focus on the film rather than its creators, Bagnall said she prefers to dive into the true intentions behind the films that are made by large corporations like Disney.  

“You can’t say that you’re getting a full film education if the only films played at theatres are directed by white people,” Bagnall said. “Right now, there’s a lot of conventional films coming out like Black Panther. I don’t think that is the perfect or necessarily the best example of representation on screen because it’s still feeding into a corporation, a multi-million dollar corporation. That’s great, but what are Marvel and Disney doing that challenges any other black filmmaker to actually get work out?”