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200 14$aThe chatter of the visible $emontage and narrative in Weimar Germany /$fPatrizia C. McBride
210  1$aAnn Arbor :$cUniversity of Michigan Press,$d[2016]
215   $a1 online resource (x, 236 pages) $cillustrations
311   $a0-472-07303-6 
320   $aIncludes bibliographical references and index.
330 1 $a"Examines the paradoxical narrative features of the photomontage aesthetics of artists associated with Dada, Constructivism, and the New Objectivity. While montage strategies have commonly been associated with the purposeful interruption of and challenge to narrative consistency and continuity, McBride offers a historicized reappraisal of 1920s and 1930s German photomontage work to show that its peculiar mimicry was less a rejection of narrative and more an extension or permutation of it - a means for thinking in narrative textures exceeding constraints imposed by "flat" print media (especially the novel and other literary genres). McBride's contribution to the conversation around Weimar-era montage is in her situation of the form of the work as a discursive practice in its own right, which affords humans a new way to negotiate temporality, as a particular mode of thinking that productively relates the particular to the universal, or as a culturally specific form of cognition."
606   $aPhotography$zGermany$xHistory$y1918-1933
615  0$aPhotography$xHistory
676   $a770.943
700   $aMcBride$b Patrizia C.$0955224
712 02$aMichigan Publishing (University of Michigan)
801  0$bMiU
801  1$bMiU
906   $aBOOK
912   $a9910136932503321
996   $aThe chatter of the visible$92160683
997   $aUNINA