Includes bibliographical references and index.

Print version record.

"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."

Introduction -- 1. Weimar-Era Montage: Perception, Expression, Storytelling -- 2. The Narrative Restitution of Experience: Walter Benjamin's Storytelling -- 3. Storytelling in the Age of Its Technological Reproducibility: Benjamin on Film and Montage -- 4. Narrating in Three Dimensions: L�aszl�o Moholy-Nagy's "Vision in Motion" -- 5. Narrative Resemblance and the Modernist Photobook -- 6. Abstraction and Montage in the Work of Kurt Schwitters -- Conclusion: Montage after Weimar.

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Electronic reproduction. [Place of publication not identified] : HathiTrust Digital Library, 2016. MiAaHDL

Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. MiAaHDL

http://purl.oclc.org/DLF/benchrepro0212

English.

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Open Access EbpS