Revolutionizing Weimar Germany's Public Sphere: The Invasion of the WorkerMain MenuPath 1: Have a look! Flip through a few pages of "Germany, Germany above All"Path 2: Discover the Functional Montage on your own!Using "Schöne Zeiten"Path 3: Step-by-Step Guide - How does the Functional Montage work?How does the Functional Montage work?Path 4: Film Montage, Industrial Montage, Photomontage and the Functional Montage(Extending the Photomontage "Das Parlament")Path 5: Develop your own Dynamic View!GG's last part is on "Heimat/Homeland" - How does the Functional Montage work for you?Path 6: Comparisons of several Functional Montages"Vorrede", "Schöne Zeiten", "Nie Allein" and "Heimat"Path 7: Comparisons to Tucholsky's Photo Reportages in MagazinesAIZ and Freie WeltPath 8: Discover all Photographs related to the Working ClassVerena Kick 1d32e4579dc15a1815e8d60cddf98a623f5bf4a3
Intro Flipping throught the book p. 38-39
12018-07-29T01:08:47-07:00Verena Kick 1d32e4579dc15a1815e8d60cddf98a623f5bf4a3260931Intro Flipping throught the book p. 38-39plain2018-07-29T01:08:47-07:00Critical Commons1929ImageDeutschland, Deutschland über AllesKurt Tucholsky and John Heartfield2018-07-29T00:02:32ZVerena Kick 1d32e4579dc15a1815e8d60cddf98a623f5bf4a3
Kurt Tucholsky's and John Heartfield’s photo book Deutschland, Deutschland über Alles (GG)appeared in 1929, when the media landscape was saturated with illustrated magazines and books that had discovered photography’s presumed authentic qualities. Nonetheless, GG prompted a big echo from both the leftwing and rightwing press.
Already its title and its ironic play on the first verse of the national anthem The Song of the Germans, which President of the Reich Friedrich Ebert had chosen in 1922, indicates that the condition of the Weimar Republic (WR)is at stake in this photo book. The irony then, with which the right-wing press took issue, lies in the fact that Germany is not “above all” in 1929, but is struggling politically and economically at the end of the Weimar Republic. Yet, Tucholsky and Heartfield neither only offer clamoring ramblings nor solutions to change the course of the WR. Instead, they opt in GGfor a showcase and criticism of the media’s portrayal of the Weimar Republic’s current state, aiming to unveil its actual condition by including, educating and addressing the working class and questioning its visibility and representation within the German public sphere.
Many publications at the time, particularly so-called “Deutschland-Bücher”tried reinforcing a “process of searching for a national identity" and coming to terms with the fundamental changes and instability of the WR since WWI (Köhn 173, my translation). Yet, even among these publications GGremains a unique take on the state of Germany, due to its intriguing text-photo combinations,its high volume of photographs (188 photographs and photomontages are combined with 96 texts) and its collaborative nature when it comes to its authors, Tucholsky, Heartfield and an array of anonymous photographers whose photos have been published by various media outlets and are reused in DD - as are many of Tucholsky's texts.