650035.pdf
The Chatter of the Visible examines the paradoxical narrative features of the photo montage 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 consi...
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University of Michigan Press
2018
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oapen-20.500.12657-300652021-11-09T09:24:09Z The Chatter of the Visible McBride, Patrizia C. History Aesthetics Dada Kurt Schwitters László Moholy-Nagy Mimesis Photography The Chatter of the Visible examines the paradoxical narrative features of the photo montage 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 photo montage 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. 2018-05-18 23:55 2020-03-12 03:00:29 2020-04-01T12:44:06Z 2020-04-01T12:44:06Z 2016-03-01 book 650035 OCN: 1166407171 9780472900664 http://library.oapen.org/handle/20.500.12657/30065 eng application/pdf n/a 650035.pdf University of Michigan Press 10.3998/mpub.8814717 103474 10.3998/mpub.8814717 e07ce9b5-7a46-4096-8f0c-bc1920e3d889 b818ba9d-2dd9-4fd7-a364-7f305aef7ee9 9780472900664 Knowledge Unlatched (KU) Ann Arbor 103497 KU Round 2 608356 Knowledge Unlatched open access |
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English |
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The Chatter of the Visible examines the paradoxical narrative features of the photo montage 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 photo montage 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. |
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University of Michigan Press |
| publishDate |
2018 |
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1771297510396002304 |
