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Figuring gender: Photomontage and c...

Otto, Elizabeth.

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Figuring gender: Photomontage and cultural critique in Germany's Weimar Republic (Walter Benjamin, Siegfried Kracauer, Otto Dix, Marianne Brandt, Alice Lex).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Figuring gender: Photomontage and cultural critique in Germany's Weimar Republic (Walter Benjamin, Siegfried Kracauer, Otto Dix, Marianne Brandt, Alice Lex)./
Author:	Otto, Elizabeth.
Description:	402 p.
Notes:	Source: Dissertation Abstracts International, Volume: 64-09, Section: A, page: 3113.
Contained By:	Dissertation Abstracts International64-09A.
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3106140
ISBN:	0496537067

Figuring gender: Photomontage and cultural critique in Germany's Weimar Republic (Walter Benjamin, Siegfried Kracauer, Otto Dix, Marianne Brandt, Alice Lex).
Otto, Elizabeth.

Figuring gender: Photomontage and cultural critique in Germany's Weimar Republic (Walter Benjamin, Siegfried Kracauer, Otto Dix, Marianne Brandt, Alice Lex). - 402 p.

Source: Dissertation Abstracts International, Volume: 64-09, Section: A, page: 3113.

Thesis (Ph.D.)--University of Michigan, 2003.

Long considered a peripheral art form, photomontage is placed at the center of a complex of visual culture, political critique and gender construction in this interdisciplinary study. Tracing the medium's origins in the nineteenth century and its blossoming in Germany's interwar period, "Figuring Gender" examines the surface breaks and combined images that are the very essence of composite works. In rediscovering wide-spread and varied practices of montage, the dissertation argues that this medium provided fertile ground for constructing and confronting gendered ideals. Close readings of form and content in four groups of photomontages reveal these works as interventions in Weimar political culture and historical circumstances.

ISBN: 0496537067Subjects--Topical Terms:

635474
Art History.

Figuring gender: Photomontage and cultural critique in Germany's Weimar Republic (Walter Benjamin, Siegfried Kracauer, Otto Dix, Marianne Brandt, Alice Lex).
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035 $a (UnM)AAI3106140
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100 1 $a Otto, Elizabeth. $3 1905878
245 1 0 $a Figuring gender: Photomontage and cultural critique in Germany's Weimar Republic (Walter Benjamin, Siegfried Kracauer, Otto Dix, Marianne Brandt, Alice Lex).
300 $a 402 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-09, Section: A, page: 3113.
500 $a Chair: Matthew Biro.
502 $a Thesis (Ph.D.)--University of Michigan, 2003.
520 $a Long considered a peripheral art form, photomontage is placed at the center of a complex of visual culture, political critique and gender construction in this interdisciplinary study. Tracing the medium's origins in the nineteenth century and its blossoming in Germany's interwar period, "Figuring Gender" examines the surface breaks and combined images that are the very essence of composite works. In rediscovering wide-spread and varied practices of montage, the dissertation argues that this medium provided fertile ground for constructing and confronting gendered ideals. Close readings of form and content in four groups of photomontages reveal these works as interventions in Weimar political culture and historical circumstances.
520 $a The dissertation conceives of montage as a critical tool of visual engagement, a concept developed out of recent theoretical writings and the interwar texts of Walter Benjamin and Siegfried Kracauer. Chapter One considers the method of allegorical montage construction, which confronts viewers with constellations of meaning and encourages active interpretation. Chapter Two examines photomontage's historical roots in nineteenth-century composite soldier portraiture to explore an associative link between constructions of militarized masculinity and photomontage upon which Weimar artists would draw. Otto Dix's work from WWI and the early interwar years, the subject of Chapter Three, grapples with a language of bodily fragmentation that is most troublingly developed in his Lustmord and Kriegskruppel images. Chapter Four addresses the Bauhaus montages of Marianne Brandt, which offer views through the eyes of urban and savvy New Women---flaneuses or which center on modern, allegorical female figures who invite reflection on contemporary politics. In the final years of the Republic, Communist artist Alice Lex's composite images engaged the classed and gendered politics of rearmament, capitalist production and reproductive rights, as Chapter Five demonstrates.
520 $a Taken together, the pictorial disjuncture of nineteenth-century montages and the works of Dix, Brandt and Lex responded to fin-de-siecle German militarism and the troubled political landscapes of the Weimar Republic. These works support the dissertation's claim that photomontage technique formed a vocabulary of critical modernism in which modes of cultural critique became embedded within the medium itself and vocabularies of violence coexisted with iconographies of renewal and change.
590 $a School code: 0127.
650 4 $a Art History. $3 635474
650 4 $a Women's Studies. $3 1017481
650 4 $a Literature, Germanic. $3 1019072
690 $a 0377
690 $a 0453
690 $a 0311
710 2 0 $a University of Michigan. $3 777416
773 0 $t Dissertation Abstracts International $g 64-09A.
790 1 0 $a Biro, Matthew, $e advisor
790 $a 0127
791 $a Ph.D.
792 $a 2003
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3106140