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 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
Path 3: Step-by-Step Guide - How does the Functional Montage work?
12018-07-28T22:34:42-07:00Verena Kick 1d32e4579dc15a1815e8d60cddf98a623f5bf4a3260937How does the Functional Montage work?plain2018-07-29T04:57:46-07:00Verena Kick 1d32e4579dc15a1815e8d60cddf98a623f5bf4a3
Introduction to this Path
In his second preface “Foreword: or, it is impossible to write captions for photographs,” Tucholsky leaves instructions for his reader how interact and really grapple with photographs, instead of just consuming them like another piece of mass media. Tucholsky aims to emphasize the individual reading habits, while at the same time not loosing sight of the photograph's problematic lack of ambiguity when it comes to the classification of people as individuals or as types of a social class.
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12018-09-17T02:15:49-07:00Verena Kick 1d32e4579dc15a1815e8d60cddf98a623f5bf4a3In the Classroom: Exercises in SeeingVerena Kick 1plain2018-09-17T02:15:50-07:00Verena Kick 1d32e4579dc15a1815e8d60cddf98a623f5bf4a3