Revolutionizing Weimar Germany's Public SphereMain 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
"Germany, Germany Above All" (1929)
12017-11-10T14:51:21-08:00Verena Kick 1d32e4579dc15a1815e8d60cddf98a623f5bf4a3260933Book Jacket by John Heartfieldplain2018-07-28T19:40:39-07:00Verena Kick 1d32e4579dc15a1815e8d60cddf98a623f5bf4a3
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12018-06-13T01:00:28-07:00Verena Kick 1d32e4579dc15a1815e8d60cddf98a623f5bf4a3Path 6: Comparisons of several Functional MontagesVerena Kick 4"Vorrede", "Schöne Zeiten", "Nie Allein" and "Heimat"plain2018-07-28T22:38:47-07:00Verena Kick 1d32e4579dc15a1815e8d60cddf98a623f5bf4a3
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12017-11-10T15:15:20-08:00Introduction80plain5424182022-11-09T12:00:00-08:00Disclaimer: This is a work in progress. This project was an addendum to a chapter in my dissertation, titled "Negotiating the German Public Sphere: Workers, Soldiers, and Women in Photobooks of Weimar Germany." As I am revising my dissertation for publication, this project is going to be continuously updated and changed as necessary. Any parts of my analysis and selections of my materials are subject to change until the official release of this Scalar book. Sept 2022 - Verena Kick
First, they may be able to identify with the representation of the working class in the photographs included in GG.
Secondly, at the same time, they may be able to develop a critical stance to their own representation.
To this end, GG becomes a, as a I call it, a second-order photobook (a working term for now). It builds on those photobooks produced in the 1920s that I would call first-order photobooks. They primarily aimed to showcase the new possibilities of photography and of photo-photo or photo-text combinationswithin a book's page layout. They tried to show how these combinations could educate readers to become more visually literate. Tucholsky and Heartfield re-use previously published texts and photographs (taken by others) not only to create juxtapositions between (several) texts and photographs, but also to create, what I call, functional montages. These montages build on the idea of the Soviet film montage and alsoimitate, to some extent, the assembly line. The idea, however, is not to look for the finished product of the montage, but to become aware of the process, i.e, how texts and images function on their own, and how they do so when they are put in relationship with each other. In this way, readers, and potentially working class readers, can become aware of how photobooks, their texts and images, and their montages represent Weimar's public sphere, while at the same time challenging this representation in creating their own publics and potentially counter publics.
Now it's your turn! Like the student in the photograph below: Learn to read and look!