... 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...

... 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...

..., 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...

... 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...

... Many things contributed to the Brown Book’s commercial success, not least its extraordinary jacket design by the photomontagist John Heartfi eld. Years later Abusch recalled that we were working in a frenzied rush, in a race to keep up with events, begin- ning the Brown Book...

... together by John Heartfi eld. At the time of pub- lication, Tucholsky had left Berlin for Paris, and his relationship with Ger- many was, at the very least, a troubled one. Deutschland, Deutschland über Alles was not his fi rst encounter with photography. In the 1920s he had already published several...

... narrative.43 Jealousy is very much a self-portrait as an artist- 40. E.g., John Heartfi eld’s nickname among the Berlin Dadaists was “Monteur-Dada,” and George Grosz made a portrait of him titled Der Monteur John Heartfi eld (1920). See also Richard Huelsenbeck’s text in Eckhard Siepmann, Montage...