"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."
Physical Description:1 online resource remote
Published:Ann Arbor :University of Michigan Press,
Publisher:Ann Arbor : University of Michigan Press, 
Includes bibliographical references and index.
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: László 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.