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  • 1
    UID:
    b3kat_BV037374008
    Format: XV, 345 S. , Ill.
    ISBN: 9780472071043
    Note: Includes index. - This publ. grew out of an exhibition, "Louise Brooks and the 'New woman' in Weimar cinema", and an accompanying symposium, "Exhibiting the "New woman': Louise Brooks, Amelia Earhart, and Marianne Brandt", which took place at the International Center of Photography in New York in 2007
    Language: English
    Subjects: General works , Art History , Sociology
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    Keywords: Fotografie ; Film ; Frau ; Geschichte 1870-1970 ; Brandt, Marianne
    Author information: Otto, Elizabeth 1970-
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  • 2
    Online Resource
    Online Resource
    London [England] : Bloomsbury Visual Arts | [London, England] : Bloomsbury Publishing
    UID:
    gbv_1742292364
    Format: 1 Online-Ressource (192 pages) , illustrations (black and white)
    Edition: First edition
    Edition: Also published in print
    ISBN: 9781501347092 , 9781501347085 , 9781501347061 , 1501347063 , 9781501347078
    Series Statement: Visual cultures and German contexts
    Content: Last stop before photofascism : activist photo spaces and the exhibition of the Building Workers Unions, Berlin, 1931 -- "Acting on the visitor's mind" : the Exhibition of the Fascist Revolution, Rome, 1932 -- Nazis in ascendance : Die Kamera, Berlin, 1933 -- "A fundamental irony" : international art in the age of nationalism at the Venice International Film Festivals 1932-36 -- Both/And : German and Italian photography exhibitions in 1936-37 -- Epilogue : Hegemony to terror, 1938-1942 & visual culture in the 21st century.
    Content: "Photography and fascism in interwar Europe developed into a highly toxic and combustible formula. Particularly in concert with aggressive display techniques, the European fascists were utterly convinced of their ability to use the medium of photography to manufacture consent among their publics. Unfortunately, as we know in hindsight, they succeeded. Other dictatorial regimes in the 1930s harnessed this powerful combination of photography and exhibitions for their own odious purposes. But this book, for the first time, focuses on the particularly consequential dialectic between Germany and Italy in the early-to-mid 1930s, and within each of those countries vis-à-vis display culture. The 1930s provides a potent case study for every generation, and it is as urgent as ever in our global political environment to deeply understand the central role of visual imagery in what transpired. Photofascism demonstrates precisely how dictatorial regimes use photographic mass media, methodically and in combination with display, to persuade the public with often times highly destructive-even catastrophic-results"--
    Note: Includes bibliographical references and index , Also published in print. , Mode of access: World Wide Web.
    Additional Edition: ISBN 9781501347061
    Additional Edition: Erscheint auch als Druck-Ausgabe ISBN 9781501347061
    Language: English
    Keywords: Electronic books
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  • 3
    UID:
    gbv_1879053950
    Format: xxviii, 181 Seiten , Illustrationen
    Edition: Paperback edition
    ISBN: 9781350284241 , 9781501347061
    Series Statement: Visual cultures and German contexts
    Uniform Title: Pictorialism to film and foto: German photography exhibitions from 1909-1929
    Content: Photography and fascism in interwar Europe developed into a highly toxic and combustible formula. Particularly in concert with aggressive display techniques, the European fascists were utterly convinced of their ability to use the medium of photography to manufacture consent among their publics. Unfortunately, as we know in hindsight, they succeeded. Other dictatorial regimes in the 1930s harnessed this powerful combination of photography and exhibitions for their own odious purposes. But this book, for the first time, focuses on the particularly consequential dialectic between Germany and Italy in the early-to-mid 1930s, and within each of those countries vis-à-vis display culture. The 1930s provides a potent case study for every generation, and it is as urgent as ever in our global political environment to deeply understand the central role of visual imagery in what transpired. This book demonstrates precisely how dictatorial regimes use photographic mass media, methodically and in combination with display, to persuade the public with often times highly destructive-even catastrophic-results.
    Note: Quellen- und Literaturverzeichnis: Seite 157-170 , Enthält ein Register , Dissertation The City University of New York 2004
    Additional Edition: ISBN 9781501347085
    Additional Edition: ISBN 9781501347078
    Language: English
    Subjects: General works
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    Keywords: Deutsches Reich ; Italien ; Fotografie ; Faschismus ; Geschichte 1930-1940 ; Hochschulschrift
    URL: Cover
    URL: Rezension  (H-Soz-Kult)
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  • 4
    Online Resource
    Online Resource
    London ; New York ; Oxford ; New Delhi ; Sidney : Bloomsbury Visual Arts
    UID:
    b3kat_BV047068725
    Format: 1 Online-Ressource (xxviii, 181 Seiten) , Illustrationen
    ISBN: 9781501347092 , 9781501347085
    Series Statement: Visual cultures and German contexts
    Content: "Photography and fascism in interwar Europe developed into a highly toxic and combustible formula. Particularly in concert with aggressive display techniques, the European fascists were utterly convinced of their ability to use the medium of photography to manufacture consent among their publics. Unfortunately, as we know in hindsight, they succeeded. Other dictatorial regimes in the 1930s harnessed this powerful combination of photography and exhibitions for their own odious purposes. But this book, for the first time, focuses on the particularly consequential dialectic between Germany and Italy in the early-to-mid 1930s, and within each of those countries vis-à-vis display culture. The 1930s provides a potent case study for every generation, and it is as urgent as ever in our global political environment to deeply understand the central role of visual imagery in what transpired. Photofascism demonstrates precisely how dictatorial regimes use photographic mass media, methodically and in combination with display, to persuade the public with often times highly destructive-even catastrophic-results."
    Note: Includes bibliographical references and index , Last stop before photofascism : activist photo spaces and the exhibition of the Building Workers Unions, Berlin, 1931 -- "Acting on the visitor's mind" : the Exhibition of the Fascist Revolution, Rome, 1932 -- Nazis in ascendance : Die Kamera, Berlin, 1933 -- "A fundamental irony" : international art in the age of nationalism at the Venice International Film Festivals 1932-36 -- Both/And : German and Italian photography exhibitions in 1936-37 -- Epilogue : Hegemony to terror, 1938-1942 & visual culture in the 21st century
    Additional Edition: Erscheint auch als Druck-Ausgabe, hardback ISBN 978-1-5013-4706-1
    Language: English
    Subjects: General works
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    Keywords: Deutschland ; Italien ; Fotografie ; Film ; Nationalsozialismus ; Faschismus ; Propaganda ; Geschichte 1931-1942 ; Deutschland ; Italien ; Museumskunde ; Ausstellung ; Nationalsozialismus ; Faschismus ; Propaganda ; Geschichte 1931-1942 ; Electronic books
    URL: Volltext  (URL des Erstveröffentlichers)
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  • 5
    Book
    Book
    London ; New York ; Oxford ; New Delhi ; Sydney : Bloomsbury Visual Arts
    UID:
    b3kat_BV046942870
    Format: xxviii, 181 Seiten , Illustrationen
    ISBN: 9781501347061
    Series Statement: Visual cultures and German contexts
    Content: Photography + fascism in interwar Europe developed into a highly toxic and combustible formula. Particularly in concert with aggressive display techniques, the European fascists were utterly convinced of their ability to use the medium of photography to manufacture consent among their publics. Unfortunately, as we know in hindsight, they succeeded. Other dictatorial regimes in the 1930s harnessed this powerful combination of photography and exhibitions for their own odious purposes. But this book, for the first time, will focus on the particularly consequential dialectic between Germany and Italy in the early-to-mid 1930s, and within each of those countries vis-a-vis display culture. The 1930s provides a potent case study for every generation, and it is as urgent as ever in our global political environment to deeply understand the central role of visual imagery in what transpired. In sum, I will demonstrate precisely how dictatorial regimes use photographic mass media, methodically and in combination with display, to persuade the public with often times highly destructive-even catastrophic- results.
    Note: Hier auch später erschienene, unveränderte Nachdrucke
    Additional Edition: Erscheint auch als Online-Ausgabe, PDF ISBN 978-1-5013-4708-5
    Additional Edition: Erscheint auch als Online-Ausgabe, EPUB ISBN 978-1-5013-4707-8
    Additional Edition: Erscheint auch als Online-Ausgabe ISBN 978-1-5013-4709-2
    Language: English
    Subjects: General works
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    Keywords: Deutschland ; Italien ; Fotografie ; Film ; Nationalsozialismus ; Faschismus ; Propaganda ; Geschichte 1931-1942 ; Deutschland ; Italien ; Museumskunde ; Ausstellung ; Nationalsozialismus ; Faschismus ; Propaganda ; Geschichte 1931-1942 ; Filmografie
    Library Location Call Number Volume/Issue/Year Availability
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  • 6
    UID:
    kobvindex_BAU25143
    Format: 23 S. , Ill.
    Language: Undetermined
    Keywords: Moholy-Nagy, László ; Moholy-Nagy, Hattula
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  • 7
    UID:
    b3kat_BV038093474
    ISSN: 0308-7298
    In: volume:33
    In: number:4
    In: year:2009
    In: pages:383-402
    In: History of photography, Abingdon, 2009, 33.2009, 4, 383-402, 0308-7298
    Language: English
    Keywords: Dresden ; Ausstellung ; Fotografie ; Geschichte 1909
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