... acknowledge the Publication Fund of the College of Arts, Celtic Studies and Social Science, University College Cork, for assisting with the reproduction costs of this article. Manufacturing Discontent: John Heartfi eld’s Mass Medium Sabine Kriebel...

... are due to Andrés Mario Zervigón for his invaluable reading of the penultimate draft and to Dan Hackbarth for crucial research assistance at the eleventh hour. Unless otherwise noted, translations are mine. Back in the USSR: John Heartfi eld, Gustavs Klucis, and the Medium of Soviet Propaganda...

... Tsui also provided valuable insights and reflections. A “Political Struwwelpeter”? John Heartfi eld’s Early Film Animation and the Crisis of Photographic Representation Andrés Mario Zervigón On April 13, 1918, Berlin’s Tägliche...

..., the translations of German texts into English are my own. Montage as Weapon: The Tactical Alliance between Willi Münzenberg and John Heartfi eld Cristina Cuevas-Wolf My fascination with the way images and words projected imagined communi- ties through the pages...

... techniques across geographic borders and across media, high and low. This special issue of New German Critique is dedicated to practices of photomontage in the era between the world wars. Not surprisingly, John Heartfi eld is a key fi gure whose work was infl uential far beyond the Weimar Republic...

... role as the Comintern’s public face in Europe, Münzenberg enjoyed a greater measure of independence and freedom of action in the international fi eld than the Ger- man party did. He carefully negotiated the narrow line between sectarianism and fraternization with the “class enemy” with the skill...

... Struwwelpeter”? John Heartfi eld’s Early Film Animation and the Crisis of Photographic Representation . . . . . . . . . . . . . 5 Andrés Mario Zervigón Manufacturing Discontent: John Heartfi eld’s Mass Medium . . . . . . . . . . 53 Sabine Kriebel A “Schooling of the Senses”: Post-Dada Visual...

...-century social thought that it is easy to forget that in its early history, the Institut did not stand out in the German academic fi eld. It was one of several attempts to redevelop the institutional structure of German scholarship both inside and outside existing university frameworks. The efforts...

... of the disconnect, it would be inadequate merely to note, as a matter of context, the transforma- tion of the war game called chess—and with it, the revolutionary “knightʼs move”—into one of many allegorical battlefi elds on which the Cold War was waged. Nor would it be suffi cient to recall that precisely...

... modern culture with its Alexandrian prototype, con- cerns Kafkaʼs professional fi eld, social insurance. “Let us mark this well,” Nietzsche warns in The Birth of Tragedy. “The Alexandrian culture, to be able to exist permanently, requires a slave class, but with its optimistic view of life...

..., the landscape perspective is intact. Stone did not take this aerial photograph, but it was included for a specifi c purpose. Showing the outskirts of Berlin, the camera’s high vantage point offers a panoramic view and envisages the city as an extended space that con- tinues far beyond the fi eld of vision...

... experimentation and an intervention in the pictorial fi eld of the Weimar Repub- lic. Brandt focused her montages on the modern city, the gendered role of the artist in the postwar era, and the popular press’s obsession with the New Woman. In addition to examining Brandt’s works in relation to Moholy-Nagy’s...

...,” Kracauer lim- 23. Siegfried Kracauer, “Georg Simmel,” in Mass Ornament, 246; hereafter cited as GS. Christian Sieg 109 its his observational fi eld to what is visually perceivable. Both the dance of the Tiller Girls and the work on an assembly line...

... confusingly broad oeuvre, Bonatz also does not fi t into our common ideas of the development of modern architecture. As a result, one of the fi eld’s most prominent fi gures has been widely ignored by the histo- riography of modern German architecture. In fact, Bonatz is one of the major unsolved cases...

... valences of the question of mediation at the very same moment. I suggest that in a context in which Hegelian philosophy had fallen into disrepute, neo-Kantian- ism had begun to gain momentum, and epistemology (Erkenntnistheorie) had emerged as a distinct ¥eld of inquiry, the baroque allowed Wölf...

... culture in an age of dramatic ™nancialization.6 More recently, Ivan Ascher has argued that con- temporary capitalism demands new metaphors: not casinos but racetracks, where risk gets unevenly distributed across a ™eld of social “roles” and func- tions.7 But the racetrack, too, is built...

... but the expression of its inexpressibility. In this respect, it is a true sister of music” (ND, 109; trans. modifi ed). Adorno constructs a tripartite fi eld: art, philosophy, science. Philosophy is situated in the middle, is independent, reducible to neither art nor science, just as art is not reducible...

... that have opened up vast new areas for research and theorizing to critics in the various cultural fi elds. The list could go on. In an even broader frame, issues of modernity are now invariably linked to globalization. It may well be a certain annoying triumphalism about globalization...

... of Auschwitz, rai- son dʼétat does not qualify as “justice as fairness.” Sebald, by representing Allied air bombings in the same language of trauma used to come to terms with Auschwitz, complicates the economy by which Auschwitz signifi es a sin- gular “judgment or historical insight.” The language fi eld...

... Olympics, and the Nuremberg trials. How history was “staged” was of aesthetic and intellectual interest to her; both criticism and personal correspondence brim with talk of the visual fi eld, theatricality, spec- tatorship, and mise-en-scène. “Women Are Not Fit for Politics” In working toward...