Dada and Photomontage Across Borders

This special issue ofNew German Critiqueexplores the art of Dada and photomontage in transnational contexts. Dadaism, An art movement cultivated during World War I, questioned traditional aesthetics and eventually led to The formation of surrealism. Focusing on Dada_s achievements in building a network of artists in Europe and America, this issue examines photomontage as an integral part of the movement, As well as its relationship to mass media, photography, propaganda, constructivism, and left-wing politics in the Soviet Union and western Europe during the 1920s and 1930s. The central figure of the issue is John Heartfield, a Dadaist who influenced much of the art world in Europe after World War I. The collection investigates Heartfield_s lesser-known early work with cinema in the service of the German High Command. Believing that photographic cinema was akin to war propaganda, Heartfield rejected live-action war footage in favor of American cinematic animation to promote an honest discussion about the horror and realities of war. One essay explores Heartfield_s photomontages while turning to film theory as a way of interpreting the politics of his work, demonstrating how his photomontages retain the organic and traditional nature of photography even as they produce cognitive dissonance and satire. Another essay on Heartfield_s role in Soviet discussions of the 1930s offers fascinating insights based on new archival research. The issue also looks at the relationship between Heartfield and The illustrated German magazineArbeiter-Illustrierte-Zeitungand how that magazine influenced photomontage across Europe. Contributors. Karin L. Crawford, Cristina Cuevas-Wolf, Maria Gough, Sabine Kriebel, Bernhard Malkmus, Elizabeth Otto, Andreacute;s Mario Zervigoacute;n David Bathrick is Jacob Gould Schurman Emeritus Professor of Theatre, Film and Dance and of German Studies at Cornell University. Andreas Huyssen is Villard Professor of German and Comparative Literature at Columbia University. Anson Rabinbach is Professor of History at Princeton University. Bathrick, Huyssen, and Rabinbach are editors ofNew German Critique.