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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...
Journal Article
New German Critique (2012) 39 (2 (116)): 25–45.
Published: 01 August 2012
...J. J. Long Both photography and the built environment play a significant role in transmitting cultural memory. This article explores how architectural photography might be seen in terms of constructions of cultural identity through Florian Profitlich's book Berlin-Bilder ( Berlin Pictures , 1999...
Journal Article
New German Critique (2015) 42 (2 (125)): 81–95.
Published: 01 August 2015
...George Kouvaros To look at something as if it were for the last time, as if the thing looked at were disappearing: this article considers what this attitude reveals about Wim Wenders's work in film and photography. For Wenders, photography has several overlapping functions: it is a medium with its...
Journal Article
New German Critique (2019) 46 (1 (136)): 197–228.
Published: 01 February 2019
...Tim Satterthwaite Abstract The German photo-illustrated magazine UHU , launched in 1924, was known for its risqué photography of the female nude. These photos offered, however, more than mere titillation: images of pastoral nudes, and of naked dancers, were a sublime expression of UHU’ s cult...
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Journal Article
New German Critique (2012) 39 (1 (115)): 169–197.
Published: 01 February 2012
...Patrizia McBride This article examines the discourse and practice of photography enacted in Weimar Germany's modernist photobook as a testing ground for the medium's narrative potential. This project involved the attempt to stake out an aesthetics that exploited photography's aptitude for exact...
Journal Article
New German Critique (2017) 44 (1 (130)): 205–216.
Published: 01 February 2017
... vacui of the postmodern subject, and reads the excessive sharing of every moment as a flight from the self and toward the “homeland” of the network. With a nod to Paul Ricoeur's concept of narrative time, Siegfried Kracauer's description of photography as the mere recording of the material, and Zygmunt...
Journal Article
New German Critique (2010) 37 (1 (109)): 1–25.
Published: 01 February 2010
... imagining of Berlin as a rooted city and an organic whole in which nature and culture were harmoniously unified reflected the increasing criticism of photography's role in society in the last years of the Weimar Republic. © 2010 by New German Critique, Inc. 2010 Many thanks to the Belgian American...
Journal Article
New German Critique (2010) 37 (2 (110)): 180–207.
Published: 01 August 2010
...Sjoukje van der Meulen This essay introduces the seminal work of the Czech media theorist Vilém Flusser (1920–91) for an English-speaking public, such as Für eine Philosophie der Fotografie ( Towards a Philosophy of Photography , 1983) and Ins Universum der technischen Bilder ( Into the Universe...
Journal Article
New German Critique (2011) 38 (1 (112)): 85–113.
Published: 01 February 2011
..., but by “citing” such images, the film continues to link to the powerful discourse of victimhood that has found its expression in Dresden rubble photography. © 2011 by New German Critique, Inc. 2011 The Ruined Picture Postcard: Dresden’s Visually Encoded History and the Television Drama Dresden...
Journal Article
New German Critique (2013) 40 (3 (120)): 1–40.
Published: 01 November 2013
... a wider resonance in Weimar culture and a much longer history. This article traces the development of the concept from a type of scientific illustration to a model of sociological inquiry and finally to a mode of montage in print, photography, and film during the 1920s. Focusing in particular on Walter...
Journal Article
New German Critique (2018) 45 (1 (133)): 79–109.
Published: 01 February 2018
... for the psychological state of immediacy that he recognized as a mark of modernity. While Wölfflin believed that such technologies as photography and film exacerbated this condition, he ultimately resorted to them as he developed pedagogical techniques that remain central to the discipline of art history. Copyright ©...
Journal Article
New German Critique (2009) 36 (2 (107)): 5–51.
Published: 01 August 2009
... photography. Berlin Dada, of which Heartfield was an early member, achieved similar effects in its live performances, staged at precisely the same time these films were produced. The essay concludes by noting the parallel between Heartfield's animation and Walter Benjamin's later reflections on the subversive...
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 (2009) 36 (2 (107)): 133–183.
Published: 01 August 2009
... and thus a member of one of its diaspora nationalities. Despite their formal and procedural differences, both artists promoted photomontage as the premier agitational weapon of world communism and Soviet propaganda, contra the rise of documentary photography as well as various modes of realist painting...
Journal Article
New German Critique (2019) 46 (3 (138)): 157–179.
Published: 01 November 2019
... and that the responsibility for their depictions is shaped by the director and rests predominantly in his hands. Seidl is hardly the first visual artist to present subjects in this way, and this element of his stylization has many precursors in the history of portrait photography. Art photography separates itself from...
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Journal Article
New German Critique (2017) 44 (2 (131)): 25–40.
Published: 01 August 2017
... Münzenberg, Moscow's Secret Propaganda Tsar in the West . New Haven, CT : Yale University Press . Paenhuysen An . 2009 . “Kurt Tucholsky, John Heartfield, and Deutschland, Deutschland über Alles.” History of Photography 33 , no. 2 : 39 – 54 . Retzlaw Karl . 1973...
Image
Published: 01 November 2020
Figure 13. “Reproduction permissions” in the travel exhibition. “Lieblingsorte? In der Reisen-Ausstellung ist Fotografieren erlaubt und das Teilen der Fotos erwünscht: www.facebook.com/LiteraturmuseenMarbach” (Favorite destinations? In the travel exhibition photography is encouraged More
Journal Article
New German Critique (2006) 33 (3 (99)): 151–170.
Published: 01 November 2006
... in this motion picture was even more sen- sational because he himself had previously been violently opposed to being fi lmed or photographed. His biographer Julius Bab describes an “extremely unusual fanaticism in [Bassermannʼs] fi ght against being photographed”—an aversion to photography so intense...
Journal Article
New German Critique (2019) 46 (2 (137)): 35–63.
Published: 01 August 2019
... the book was still recognizable as the one dedicated to “those who have defended their homeland and ours” during World War I. The article explores the remarkable longevity of this popular but problematic publication. Copyright © 2019 by New German Critique, Inc. 2019 photography publishing Karl...
Journal Article
New German Critique (2009) 36 (2 (107)): 1–4.
Published: 01 August 2009
... of a transnational network of artists of different nationalities, thus freeing Dada from such a Franco-centric teleological scheme. This special issue continues in that spirit. It discusses the achievements of Dada and photomontage in par- ticular in relation to mass media photography, to fi lm...