Search Results for Arbeiter-Illustrierte-Zeitung

...Cristina Cuevas-Wolf The German photomontagist John Heartfield visualized Willi Münzenberg's antifascist position in the Communist Party as early as 1932 and became famous for antifascist photomontages, published exclusively in the Arbeiter-Illustrierte-Zeitung (AIZ) from 1929 to 1938. Heartfield...

... journal Arbeiter-Illustrierte-Zeitung ( AIZ ) insistently suppress the seams and ruptures of their manufacture, instead offering up pictorially sutured photomontages that propagate fictions of visual wholeness. They do so to issue an ideological critique from a leftist perspective, staging our illusory...

... Europe and this avant-garde artist led to the fusion of the international reputation of Heartfield's photomontages and of Münzenberg's Arbeiter-Illustrierte-Zeitung ( AIZ ) in 1929. Consequently, Münzenberg formed a transnational network that relied unintentionally on the various publishers...

... than with his earlier cinematic explorations, she looks to fi lm theory for a model of interpreting the politics of photographic illu- sionism in Heartfi eld’s photomontages published in the Arbeiter-Illustrierte- Zeitung (AIZ). She shows that Heartfi eld’s photomontages, manufactured for a mass...

... the International Workers Aid (IAH), numerous dailies and weeklies, journals, and the highly successful illustrated weekly Arbeiter- Illustrierte-Zeitung (AIZ), with a circulation of nearly half a million.8 His 8. On Münzenberg see Babette Gross, Willi Münzenberg: Eine politische Biographie (Stuttgart...

... Interregnum was meant as a 2. Arbeiter Illustrierte Zeitung (hereafter cited as AIZ), June 7, 1934; Becher to Grosz, August 1934, in Ulrich Becher and George Grosz, Flaschenpost: Geschichte einer Freundschaft, ed. Uwe Naumann and Michael Töteberg (Basel: Lenos, 1989), 52. See also Günter Morsch, ed...

...-Illustrierter-Zeitung (Worker’s Illustrated Journal; AIZ) between about 1929 and 1938. Much of this work was conducted in exile in Prague, where both Heartfield and the magazine were forced to relocate in 1933. At its height the AIZ attracted a wide audience, with a circulation of up to several hundred...

... the emergence of telegraphic photo transmission (1907), lightweight cameras (1925), and more cost-efficient printing methods.44 By 44. The first printed photograph in Germany appeared in the Illustrierte Zeitung in 1883. On the emergence of the illustrated press, see Dominique Gaessler, “The Spread...

... (Arbeiter-Illustrierte-Zeitung) may have been one of the story’s sources.19 In a diary entry from 1924–25, Seghers men- tioned working on a “myth of revolution [Revolutionsmythos20 This obvi- ously complicates the text’s relationship to New Objectivity, which has been a frequent association...

... of the weekly Arbeiter-Illustrierte-Zeitung, it also gained popularity on the political right because of its vicious attacks on the Weimar Republic. But it must have been just as pleasing to the Right that the photobook’s underlying discourse put the modern Weimar city and its politics in clear...

... in the production of a montage that would appear in the Arbeiter-Illustrierte-Zeitung (AIZ) 10, no. 26 (1931): 517. See Reismann, “Begegnung in Moskau” (1972), in März, Der Schnitt entlang der Zeit, 285–86. This issue of the AIZ bears no precise date, but an examination of its contents suggests...

... insights into a given state of affairs. In a laudatory gloss on the photo-reportage of the left-leaning Arbeiter Illustrierte Zeitung, Brecht went a step farther as he chided the bourgeois press for the pernicious misuse of images in the contempo- rary photo-reportage, concluding that “der...