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The chatter of the visible : montage and narrative in Weimar Germany
Gespeichert in:
| Autor:in: | |
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| Sprache: | Englisch |
| Veröffentlicht: | Ann Arbor : University of Michigan Press, [2016] |
| Schriftenreihe: | Open Access e-Books
Knowledge Unlatched |
| Umfang: | 1 Online-Ressource (x, 236 pages) |
| Gedruckte Ausgabe: | Erscheint auch als:
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| Bibliogr. Zusammenhang: | Print version:
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| ISBN: | 9780472121700 0472121707 9780472900664 0472900668 0472053035 9780472053032 9780472073030 0472073036 |
| Anmerkungen: | Includes bibliographical references and index Use copy Restrictions unspecified star MiAaHDL Electronic reproduction |
| Schlagwörter: | |
| Veröffentlichungsangabe: | [S.l.] : HathiTrust Digital Library, 2011 |
| Anmerkung: | Electronic reproduction |
| Zusammenfassung: | The Chatter of the Visible examines the paradoxical narrative features of the photomontage aesthetics of artists associated with Dada, Constructivism, and the New Objectivity. While montage strategies have commonly been associated with the purposeful interruption of and challenge to narrative consistency and continuity, McBride offers an historicized reappraisal of 1920s and 1930s German photomontage work to show that its peculiar mimicry was less a rejection of narrative and more an extension or permutation of it--a means for thinking in narrative textures exceeding constraints imposed by "flat" print media (especially the novel and other literary genres). McBride's contribution to the conversation around Weimar-era montage is in her situation of the form of the work as a discursive practice in its own right, which affords humans a new way to negotiate temporality, as a particular mode of thinking that productively relates the particular to the universal, or as a culturally specific form of cognition The Chatter of the Visible examines the paradoxical narrative features of the photomontage aesthetics of artists associated with Dada, Constructivism, and the New Objectivity. While montage strategies have commonly been associated with the purposeful interruption of and challenge to narrative consistency and continuity, McBride offers an historicized reappraisal of 1920s and 1930s German photomontage work to show that its peculiar mimicry was less a rejection of narrative and more an extension or permutation of it--a means for thinking in narrative textures exceeding constraints imposed by "flat" print media (especially the novel and other literary genres). McBride's contribution to the conversation around Weimar-era montage is in her situation of the form of the work as a discursive practice in its own right, which affords humans a new way to negotiate temporality, as a particular mode of thinking that productively relates the particular to the universal, or as a culturally specific form of cognition |
| Medientyp: | Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. |