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 ClassAuthor's Name1d32e4579dc15a1815e8d60cddf98a623f5bf4a3
"Germany, Germany Above All" (1929)
12017-11-10T14:51:21-08:00Author's Name1d32e4579dc15a1815e8d60cddf98a623f5bf4a3260933Book Jacket by John Heartfieldplain2018-07-28T19:40:39-07:00Author's Name1d32e4579dc15a1815e8d60cddf98a623f5bf4a3
This page has paths:
12018-06-13T01:00:28-07:00Author's Name1d32e4579dc15a1815e8d60cddf98a623f5bf4a3Path 6: Comparisons of several Functional MontagesAuthor's Name4"Vorrede", "Schöne Zeiten", "Nie Allein" and "Heimat"plain2018-07-28T22:38:47-07:00Author's Name1d32e4579dc15a1815e8d60cddf98a623f5bf4a3
This page is referenced by:
12017-11-10T15:15:20-08:00Introduction75plain5424182020-04-28T11:25:20-07:00Disclaimer: 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. January 2020 - Author's Name, Institution
First, he is supposed to be able to identify with the representation of the working class in the photographs included in GG.
Secondly, at the same time, he is supposed to develop a critical stance to his own representation.
To this end, GG becomes a, as a I call it, second-order photobook. It builds on those photo books produced in the 1920s that I would call first-order photobook. 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 montagesimitate the workers' daily perspective and engagement with the assembly line only to challenge then this perspective by the end of the photobook, asking worker-readers to develop a dynamic, adaptable perspective. Such a different perspective - building on the montage of the assembly line, yet also freeing them from this daily view - aimed at bestowing an effective self-consciousness and self-awareness on them and thus elevating them to the status of a potential counter public.
Now it's your turn! Like the student in the photograph below: Learn to read and look!