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 7: Comparisons to Tucholsky's Photo Reportages in MagazinesAIZ and Freie WeltPath 8: Discover all Photographs related to the Working ClassVerena Kick 1d32e4579dc15a1815e8d60cddf98a623f5bf4a3
Path 6: Comparisons of several Functional Montages
12018-06-13T01:00:28-07:00Verena Kick 1d32e4579dc15a1815e8d60cddf98a623f5bf4a3260937"Vorrede", "Schöne Zeiten", "Nie Allein" and "Heimat"plain2018-09-17T04:58:20-07:00Verena Kick 1d32e4579dc15a1815e8d60cddf98a623f5bf4a3“Functional montages”, in addition to "Good Times" (p. 33-35), include the sections “Foreword, or it is impossible to write captions for photographs” (Tucholsky & Heartfield, 1929, p. 10-12), “The People” (p. 17-18), “Statistics” (p. 46-55), “Never Alone” (p. 124-131) and “Homeland” (p. 226-231). In comparing all of these montages and putting them on the same page, I hope to underline how the "functional montage" works and to highlight the similarities between all these montages.