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Image
Published: 01 August 2019
Figure 2. Photograph from the Stroop-Report showing soldiers, a group of people, and a boy raising his hands. BArch, Bild 183-41636-0002. Figure 2. Photograph from the Stroop-Report showing soldiers, a group of people, and a boy raising his hands. BArch, Bild 183-41636-0002. More
Image
Published: 01 August 2019
Figure 3. The Last Days of the Ceauşescus (IIPM 2009). Photograph © 2009 Karl-Bernd Karwasz. Figure 3. The Last Days of the Ceauşescus (IIPM 2009). Photograph © 2009 Karl-Bernd Karwasz. More
Image
Published: 01 November 2020
Figure 11. Portrait of Siegfried Kracauer, 1964, photograph by Lili Kracauer in their New York City apartment (“interior photo”), from a negative scan. Courtesy Deutsches Literaturarchiv Marbach. Figure 11. Portrait of Siegfried Kracauer, 1964, photograph by Lili Kracauer in their New York City More
Journal Article
New German Critique (2009) 36 (2 (107)): 5–51.
Published: 01 August 2009
... photomontages, here he avoided the photographic basis of film because it lent itself all too easily to prowar propaganda. His work with George Grosz, by contrast, attempted to reinsert somatic terror into representations of the war and thereby to counter the visually sedative aspect of contemporary German war...
Journal Article
New German Critique (2012) 39 (2 (116)): 25–45.
Published: 01 August 2012
...), one of the most singular photographic books about Berlin to appear since the fall of the Wall and the subsequent reunification of Germany in 1990. Long approaches Profitlich via F. Albert Schwartz, the late nineteenth-century photographer of Berlin, whose work shortly followed Germany's first...
Journal Article
New German Critique (2015) 42 (2 (125)): 81–95.
Published: 01 August 2015
... of Wenders's career from that of a filmmaker who also takes photographs to someone for whom the photographic image—its history and temporal implications—plays a central role in his creative practice. © 2015 by New German Critique, Inc. 2015 photography film belatedness Kings of the Road...
Journal Article
New German Critique (2019) 46 (3 (138)): 157–179.
Published: 01 November 2019
...Brad Prager Abstract The Austrian director Ulrich Seidl often films interview subjects as though they were posing for portrait photographs, and Seidl maintains that one of his major influences is the photographer Diane Arbus. This article examines how this high level of control over a film’s frames...
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Journal Article
New German Critique (2009) 36 (2 (107)): 89–131.
Published: 01 August 2009
... photographic elements in dynamic relation to one another. While Moholy-Nagy was a prolific theorist who published frequently on the role of photography and related visual technologies in postwar society, few of Brandt's writings survive. Yet her montages address similar issues, particularly questions of how...
Journal Article
New German Critique (2010) 37 (1 (109)): 1–25.
Published: 01 February 2010
...An Paenhuysen In the fall of 1928 the Weimar photographer Sasha Stone published his photobook Berlin in Bildern ( Berlin in Pictures ). The opening image of the smokestacks of the Klingenberg power station was a clear statement in favor of the modern city. As a photographer of the New Vision...
Journal Article
New German Critique (2019) 46 (2 (137)): 35–63.
Published: 01 August 2019
...Matthew Jefferies Abstract While existing studies of twentieth-century German photobooks have understandably sought out volumes by the most iconic photographers, with the most innovative typography, or with the most radical political messages, no photobook series better documents the continuities...
Journal Article
New German Critique (2018) 45 (1 (133)): 207–245.
Published: 01 February 2018
... portrayal of Berlin—eschewing mass tourist sites—was informed by his role as a prominent journalist among intellectual circles in the Romanisches Café. Instead of maps, advertisements, or photographs, the guidebook promoted caricatures by such artists as Rudolf Großmann and Benedikt Fred Dolbin and combined...
Journal Article
New German Critique (2009) 36 (2 (107)): 53–88.
Published: 01 August 2009
... their matter, their medium, their form. Heartfield's AIZ works offer a radical Left critique of the mass-circulated photograph and its production of political consciousness by internalizing and miming its very means through photomontage. Leftist critique in Heartfield's montages, I maintain, resides in suture...
Journal Article
New German Critique (2019) 46 (3 (138)): 125–155.
Published: 01 November 2019
... images” home in on the fleeting relation of part to whole, revealing the difficulty of understanding large concepts such as the West or the human species through such supposedly objective images. This article also discusses the connection between Geyrhalter’s photographic mode and sophisticated...
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Journal Article
New German Critique (2011) 38 (1 (112)): 85–113.
Published: 01 February 2011
...-and-after pictures of the city were important national examples of the cruelty of war toward the German civilian population and against German cultural treasures, and the photographs became iconographic images of suffering. Dresden 's plot offers a more complex view of the bombings and the city they struck...
Journal Article
New German Critique (2011) 38 (1 (112)): 155–180.
Published: 01 February 2011
... of the terms' overlapping semantic scopes. This article interrogates postwar and Cold War as distinct registers of cultural analysis, rather than as vague chronological markers. Photographic adaptation and recoding of the ruin motif—a foundational element of the postwar aesthetic—for Cold War purposes offers...
Journal Article
New German Critique (2012) 39 (1 (115)): 169–197.
Published: 01 February 2012
... because of its explosive potential as a mimetic medium that can convey a sense of unfolding time and engender fresh modes of collective reception. Yet the photographic image was an even more ubiquitous and flexible instrument of visual dissemination because of the unprecedented proliferation...
Journal Article
New German Critique (2006) 33 (3 (99)): 121–149.
Published: 01 November 2006
...Stefanie Harris New German Critique, Inc. 2006 Exposures: Rilke, Photography, and the City Stefanie Harris This time, Paris was just what I had expected: diffi cult. And I feel like a photographic...
Image
Published: 01 November 2020
Figure 10. Paris demolition site (with Siegfried Kracauer standing in front?), 1934–35, photograph by Lili Kracauer, paper print. Courtesy Deutsches Literaturarchiv Marbach. Figure 10. Paris demolition site (with Siegfried Kracauer standing in front?), 1934–35, photograph by Lili Kracauer More
Image
Published: 01 August 2019
Figure 1. The actress Sascha Ö. Soydan reading the statement Anders B. Breivik gave during his trial in Oslo. Photograph by Thomas Müller © 2012 IIPM. Figure 1. The actress Sascha Ö. Soydan reading the statement Anders B. Breivik gave during his trial in Oslo. Photograph by Thomas Müller © 2012 More
Journal Article
New German Critique (2019) 46 (1 (136)): 197–228.
Published: 01 February 2019
... images. These self-conscious configurations in UHU’ s idealist photographs related, symbolically, to the idea of mass society, with its equivocal potential for social harmony or fragmentation and disorder. As Colin Counsell argues of the Weimar mass-display phenomenon, the variety of these human...
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