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Journal Article
New German Critique (2009) 36 (2 (107)): 133–183.
Published: 01 August 2009
...Maria Gough Drawing on archival and recently published documents, this essay examines the historical encounter of two major communist photomonteurs in Moscow in 1931—John Heartfield, visiting from Weimar Germany under the auspices of the Comintern, and Gustavs Klucis, a Latvian resident of the city...
View articletitled, Back in the USSR: <span class="search-highlight">John</span> <span class="search-highlight">Heartfield</span>, Gustavs Klucis, and the Medium of Soviet Propaganda
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for article titled, Back in the USSR: <span class="search-highlight">John</span> <span class="search-highlight">Heartfield</span>, Gustavs Klucis, and the Medium of Soviet Propaganda
Journal Article
New German Critique (2009) 36 (2 (107)): 185–205.
Published: 01 August 2009
...Cristina Cuevas-Wolf This essay posits that the tactical alliance in the mid-1920s between Willi Münzenberg and John Heartfield shaped the imagery of a united political front for the Communist International (Comintern). The collaboration between the Comintern's minister of propaganda for western...
View articletitled, Montage as Weapon: The Tactical Alliance between Willi Münzenberg and <span class="search-highlight">John</span> <span class="search-highlight">Heartfield</span>
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for article titled, Montage as Weapon: The Tactical Alliance between Willi Münzenberg and <span class="search-highlight">John</span> <span class="search-highlight">Heartfield</span>
Journal Article
New German Critique (2017) 44 (2 (131)): 1–24.
Published: 01 August 2017
...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...
View articletitled, <span class="search-highlight">John</span> <span class="search-highlight">Heartfield's</span> Thälmann Montages: The Politics behind Images of International Antifascism
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for article titled, <span class="search-highlight">John</span> <span class="search-highlight">Heartfield's</span> Thälmann Montages: The Politics behind Images of International Antifascism
Journal Article
New German Critique (2009) 36 (2 (107)): 5–51.
Published: 01 August 2009
...Andrés Mario Zervigón This essay investigates the little-known early film work of the German photomontagist John Heartfield (born Helmut Herzfeld in 1891). A firm opponent of World War I and an early member of Berlin's rambunctious Dada movement, Heartfield nonetheless agreed to produce...
View articletitled, A “Political Struwwelpeter”? <span class="search-highlight">John</span> <span class="search-highlight">Heartfield's</span> Early Film Animation and the Crisis of Photographic Representation
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for article titled, A “Political Struwwelpeter”? <span class="search-highlight">John</span> <span class="search-highlight">Heartfield's</span> Early Film Animation and the Crisis of Photographic Representation
Journal Article
New German Critique (2009) 36 (2 (107)): 53–88.
Published: 01 August 2009
...Sabine Kriebel Because photomontage is based on the structural principle of pictorial rupture and reassembly, the medium is understood in scholarly literature as the symbolic register of the shocks and disjunctures of modern life. Yet most of John Heartfield's photomontages for the communist...
View articletitled, Manufacturing Discontent: <span class="search-highlight">John</span> <span class="search-highlight">Heartfield's</span> Mass Medium
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for article titled, Manufacturing Discontent: <span class="search-highlight">John</span> <span class="search-highlight">Heartfield's</span> Mass Medium
Journal Article
New German Critique (2017) 44 (2 (131)): 25–40.
Published: 01 August 2017
...Misa Nikolic Apart from the work of Eduard Fuchs, there has been little Marxist scholarship on caricature and satire. This is a glaring omission, especially in light of the work of John Heartfield, whose photomontages were viewed across the political spectrum as well as across class boundaries...
View articletitled, First as Tragedy, Second as Farce: <span class="search-highlight">Heartfield's</span> Photomontages and the Engaged Viewer
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for article titled, First as Tragedy, Second as Farce: <span class="search-highlight">Heartfield's</span> Photomontages and the Engaged Viewer
Journal Article
New German Critique (2013) 40 (2 (119)): 137–165.
Published: 01 August 2013
... whose back shows traces of physical abuse. Two months later
James A. Van Dyke 145
the AIZ published a montage in which John Heartfield slyly deployed a mod-
ified version of the seventeenth-century iconography of the king’s body,
exemplified...
Journal Article
New German Critique (2017) 44 (2 (131)): 41–73.
Published: 01 August 2017
... and
typography, techniques that were quickly adopted by commercial advertisers.
Along with innovations in photomontage, in which Grosz, Hausmann, John
Heartfield, and Hannah Höch all played a part,45 the Dadaists popularized new
practices in typography, incorporating the influences of Stéphane Mallarmé...
Journal Article
New German Critique (2018) 45 (2 (134)): 67–98.
Published: 01 August 2018
... . 2012 . John Heartfield and the Agitated Image: Photography, Persuasion, and the Rise of Avant-Garde Photomontage . Chicago : University of Chicago Press . Zischler Hanns . 2003 . Kafka Goes to the Movies , translated by Gillespie Susan H. . Chicago : University of Chicago Press...
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Journal Article
New German Critique (2013) 40 (3 (120)): 1–40.
Published: 01 November 2013
.... This does not mean that Querschnitt montage was—as Kracauer also seems to suggest—
necessarily apolitical; as a counterexample, one could point to John Heartfield and Kurt Tuchol-
sky’s scathing photobook Deutschland, Deutschland über alles! (1929), which the authors describe
in their introduction...
Journal Article
New German Critique (2021) 48 (2 (143)): 205–220.
Published: 01 August 2021
... to establishing a dictatorship. . . . It created the prism through which most of the world saw Nazism for more than a generation” (205–6). That best-selling book, replete with a brilliant photomontage by John Heartfield, and the accompanying campaign were the work of the renowned communist impresario...
Journal Article
New German Critique (2023) 50 (3 (150)): 5–24.
Published: 01 November 2023
... Sabine . “ Manufacturing Discontent: John Heartfield’s Mass Medium .” New German Critique , no. 107 ( 2009 ): 53 – 88 . Lovink Geert . “ Essay on Speculative Media Theory (1996) .” In Dark Fiber: Tracking Critical Internet Culture , 22 – 29 . Cambridge, MA : MIT Press , 2002...
Journal Article
New German Critique (2011) 38 (3 (114)): 115–132.
Published: 01 November 2011
...: Eher,
1929), 103.
Claudia Schmölders 129
1928 one of the most powerful Hitler opponents of the German art world, John
Heartfield, came up with the first Hitler image to feature a skull. The motif
thereafter appeared with Ernst Niekisch’s 1932 pamphlet...
Journal Article
New German Critique (2018) 45 (2 (134)): 33–66.
Published: 01 August 2018
..., Dix, who claimed to be uninterested in politics, did not give the drawing this title. John Heartfield and George Grosz, editors of the left-wing magazine Die Pleite ( Bankruptcy ) and active members of the Communist Party, retitled the drawing when the magazine published it. Dix “had nothing to do...
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Journal Article
New German Critique (2020) 47 (1 (139)): 105–140.
Published: 01 February 2020
... by several great figures of the cinema who were Warburg’s contemporaries, such as Dziga Vertov and S. M. Eisenstein” 55 —but then it becomes equally possible to adduce broader contexts that extend beyond film to other media, such as the photocollages of Aleksandr Rodchenko, John Heartfield, or Hannah Höch...
