Relevant bibliographies by topics / Heartfield

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Heartfield'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2024

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Journal articles on the topic "Heartfield"

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Arslan, Doğan. "John Heartfield’s Photomontages as a Political Tool." European Journal of Multidisciplinary Studies 3, no. 4 (2018): 75. http://dx.doi.org/10.26417/ejms.v3i4.p75-84.

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It is the fact that art often involves with politics. It can work both of sides, either with a political ideology or against of it. The strong relationship between art and politic was occurred during the World War I and World War II. As a member of Berlin Dadaist Art Movement, John Heartfield made sharp opposition with his photomontage works against the Hitler regime in Germany. Since photomontage became anti-art technique against traditional painting in Dada Movement, Heartfield used this technique to criticize his opponents, Adolph Hitler and Mussolini. This research will focus on how Heartfield attacked and disrupted with his photomontages to his opponents. Later on, I will analyze photomontages of Peter Kennard and Klaus Staeck, contemporary artists and designers, who were inspired by Heartfield’s photomontage methodology and his artistic activism. The qualitative research and comparative methodology were used in this research. The findings of the research showed that Heartfield became the pioneer of using photomontage technique in his time. He realized that he could use photography to express his politic thoughts and ideas in collage making. He used photomontage as a political weapon against his political oppositions. Kennard and Staeck, like Heartfield, used photomontage to support and defend their political issues in their time, too. Finannly, this research shows that Dada artist, John Heartfield as well as contemporaray designer and artist Peter Kennard and Klaus Staeck used the photomontage to make a social criticism through their conceptual and powerful works. Their initial approaches were not making design for a client or gallery to sell their works, but they wanted to be, as “artists-activists”, part of social changes in their time.
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Akbar, Naufal. "PROPAGANDA ANTINAZI PADA FOTO MONTASE KARYA JOHN HEARTFIELD DENGAN PENDEKATAN ANALISIS SEMIOTIKA." spectā : Journal of Photography, Arts, and Media 6, no. 2 (2023): 117–26. http://dx.doi.org/10.24821/specta.v6i2.7616.

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This research focused on the relationship between art and social context, politic, and culture. The artwork is photomontages. Visualization on photomontage sometimes describe the social reality that emerged and developed at the era before World War II started. In Arbeiter Illustrierte Zeitung magazine which was a working class magazine during World War II there was one photomontage artist named John Heartfield who published his photomontages containing anti-Nazi propaganda. The purpose of this research was to determine the meaning of four photomontages by John Heartfield. The research method is carried out by observing and collecting data at the level of denotation and connotation with Roland Barthes' semiotic theory, as well as knowing how John Heartfield communicates propaganda through his works. The results of this research indicate that the photomontages of antiNazi propaganda by John Heartfield denotatively contains the meaning of criticism through visuals combining the figure of Adolf Hitler, Swastika, and goddess Themis with symbols based on ancient Europeans culture. In connotation, the meaning of criticism contained shows criticism of political and war crimes committed by the German people, from The Prussian Empire to The Nazi Party led by Adolf Hitler.
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Ré, Henrique Antonio. "Uma história da British and Foreign Anti-Slavery Society: a instituição que internacionalizou o antiescravismo britânico." Revista de História, no. 176 (December 5, 2017): 01. http://dx.doi.org/10.11606/issn.2316-9141.rh.2017.131762.

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Laguna Martínez, Ana. "The Photographic Metaphor: Heartfield, Brecht, Sebald." Escritura e Imagen 17 (November 24, 2021): 69–87. http://dx.doi.org/10.5209/esim.78934.

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From a semiotic point of view, photography is still considered a different kind of sign. Then, how can imagetext works be studied, formed by photography and word? This article argues that fictional texts expose the semiotic nature of photographs, showing that photographs are signs, different from their referents. The fictional, intermedial texts studied here are John Heartfield’s, Bertolt Brecht’s, and W.G. Sebald’s: three authors linked by German history. In the light of Umberto Eco’s semiotics, photographs can also be considered metaphors, enable to provide a new kind of iconicity and to overcome their realistic weight.
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Toman, Jindřich. "Émigré Traces: John Heartfield in Prague." History of Photography 32, no. 3 (2008): 272–86. http://dx.doi.org/10.1080/03087290802018892.

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Heartfield, John. "Voices: Responses to John Heartfield: Stimulus/Response." Circa, no. 63 (1993): 44. http://dx.doi.org/10.2307/25557750.

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Kuenzli, Rudolf E. "John Heartfield and the Arbeiter-Illustrierte-Zeitung." Journal of Communication Inquiry 13, no. 1 (1989): 31–42. http://dx.doi.org/10.1177/019685998901300102.

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Paenhuysen, An. "Kurt Tucholsky, John Heartfield andDeutschland, Deutschland über Alles." History of Photography 33, no. 1 (2009): 39–54. http://dx.doi.org/10.1080/03087290802582921.

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Mirza, Munira. "James Heartfield,The death of the subject explained." International Journal of Cultural Policy 16, no. 1 (2010): 58–59. http://dx.doi.org/10.1080/10286630902971587.

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Fabris, Annateresa. "A fotomontagem como função política." História (São Paulo) 22, no. 1 (2003): 11–58. http://dx.doi.org/10.1590/s0101-90742003000100002.

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O movimento dadá em Berlim distingue-se por um projeto de intervenção política, em sintonia com a orientação ideológica de vários de seus integrantes. Entre estes pode ser destacado John Heartfield, interessado, desde 1915, em desenvolver uma linguagem ao mesmo tempo moderna e acessível a um público de massa. Para tanto, lança mão da fotografia nas capas executadas para a editora Malik e é responsável pelo desenvolvimento da fotomontagem política, que divulga sobretudo numa revista do Partido Comunista Alemão, o Arbeiter Illustrierte Zeitung.
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Dissertations / Theses on the topic "Heartfield"

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Ljung, Bo. "Det filmiska ögat : En undersökning av konstbetraktandets natur i tunnelbanan genom fotomontaget ”Den dagen, den sorgen” på Karlaplans station." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-353592.

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Uppsatsen undersöker konstbetraktandets natur i tunnelbanan genom en närstudie av fotomontaget ”Den dagen, den sorgen på Karlaplans tunnelbanestation i Stockholm.  Uppsatsens huvudsakliga frågeställning är: Hur spelar ”Den dagen den sorgen” upp sin mening och hur tas denna emot av betraktaren i tunnelbanekontexten vid Karlaplan?   Två underfrågor kompletterar frågeställningen: 1.Vilken är fotomontagets konstnärliga särart och hur är det organiserat narrativt? 2.Hur är tunnelbanans ”genius loci” och hur samverkar konstverket med platsen och rummet?    Impetus för uppsatsen är konstverkets säregna och unika karaktär som konstverk. Det finns inget liknande verk i Stockholms tunnelbana. Det lockar, väcker frågor och involverar betraktaren på ett direkt sätt. Syftet med uppsatsen är därför att undersöka mekanismerna för denna betraktaraktiverande rörelse. En fråga som ofta saknas i den omfattande litteraturen om konsten i Stockholms tunnelbana är hur tunnelbanekonsten kommunicerar och tas emot av sina betraktarresenärer. Denna brist motiverar en undersökning av relationen mellan konstverk, betraktare och miljö.      Uppsatsen är utförd med hjälp av en deduktiv och systematiskt tolkande arbetsmetod utifrån en receptionsteoretisk och semiotisk teoribildning. De valda frågeställningarna har riktat analysen och fotomontaget har studerats som konstnärligt och språkligt fenomen. Receptionsteorin utgår från Wolfgang Kemps begreppsanalys, vilken är strukturerad i interna och externa faktorer. Peter Gillgren kompletterar Kemp och visar hur betydelsefulla verkets interartiella referenser och den litterära meningen är för den receptionsteoretiska tolkningen. Roland Barthes semiotiska teckenanalys, där denoterande tecken omvandlas till konoterande i betraktarens medvetande, ligger också till grund för tolkningen      Texten är uppbyggd av fem delar. De består av inledning, bakgrund, interna faktorer, externa faktorer samt avslutande diskussion med slutsatser och sammanfattning. Genom verkets många interartiella referenser framträder en samhällskritisk litterär mening. För att förmedla denna litterära mening har upphovsmannen medvetet sökt motverka en riskerad polysemi. Kompletterande performativa textremsor, det hyperrealistiska fotografiska bildmediet samt en återhållsamhet med fragment stramar åt och riktar bildens ”betydelse”. Bildens komposition och perspektiv samt en frekvent användning av vakanser och fokaliserande gestalter bjuder in betraktaren i bildens ”spel” och sätter dennes öga i rörelse.  Verk, betraktare och miljö möts och förstår varandra i hastiga filmiska ögonblick. Sådan är konstbetraktandets natur på Karlaplans tunnelbanestation.
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Donné, Tereza. "John Heartfield v Československu." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-340352.

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Introduced diploma thesis John Heartfield's stay in Czechoslovakia 1933-1938 deals with artistic creation and stay of the origin German artist John Heartfield in Prague from 1933 till 1938 which had become his haven after Hitler's after Hitler's takeover of power. This thesis analyses Heartfield's work in Czechoslovakia, from creating photomonages and political caricatures, which he was publishing in workers newspapers, Arbeiter-Illustrierte Zeitung and Volks-Illustrierte, move of berliner publisher The Malik to Prague, participation in the Oskar Kokoschka Bund, to book covers for Czech publishers or his participations in Prague exhibitions like International exhibition caricatures and humour or International exhibition of photography. Provided historical-cultural analysis also examines other Heartfield's activities linked with his Prague stay. These are his relationship to Czechoslovakia formed by artistic, social and working contacts with Czech leftist orientated intellectuals and artists and reflections his works in Czech environment. Heartfields fruitful stay in Czechoslovakia was ended in a hurry thanks to occupation of Czechoslovakia in 1938 and by his moving into exile in London.
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Bush, Diana M. "The Dialectical Object: John Heartfield 1915 - 1933." Thesis, 2013. https://doi.org/10.7916/D80K2GXJ.

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In 1933, after the election of the National Socialists in Germany, John Heartfield fled Berlin for Prague, leaving behind the significant intervention in contemporary cultural and social discourses that his photomontages for the Arbeiter-Illustrierte Zeitung comprised. While this body of work, produced from 1930, has been understood as Heartfield's master work, it has also often been understood as straightforward "popular front" propaganda and the accomplished embodiment of the "dialectical" method that were significant aspects of the cultural policy of the official left. There have been few attempts to work through the formally innovative aspects of Heartfield's particular "dialectical" method, and more broadly speaking, little critical consideration of the complex engagement of social realism that characterizes the A-I Z photomontages. Taking as a point of departure Heartfield's presence in institutional and scholarly discourses, and adopting an approach that is thematic rather than chronologically exhaustive, this dissertation investigates his collaborative engagements of performance, theatrical production, film, and the newly-emergent "photo book" to argue for a more nuanced treatment of the A-I Z photomontages than has been the case. Critical writing focused on the decade between Heartfield's Berlin Dadaist affiliations and his work for the Arbeiter-Illustrierte Zeitung has been conspicuously absent, and his work with film and theater have not been considered in relation to his photomontage practice of the later 1920s. Drawing on the theorizations of Michel Foucault and Gilles Deleuze regarding subjectivity and aesthetic engagement, the formation of cultural collectives, and processes of meaning production, this dissertation will argue that Heartfield's involvement in specifically performative cultural formations is central to understanding the advanced photomontage practice he developed, even as this orientation also rendered his intervention in the modes and institutions of cultural production incomprehensible to the various historical paradigms, left and otherwise, of modern art. In my conclusion, I draw Heartfield back into the present to consider the import and resonance of his interventions for contemporary interests and practices. Bringing recent theorizations of the public sphere in relationship to investigations of subversive subjectivities and models of meaning production formed around the "event," my dissertation argues for an expanded notion of aesthetic reception, critical realism, and "political" art.
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Arabadjieva, Stefana. "Časopis Arbeiter Illustrierte Zeitung a jeho působení v československém exilu." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-373008.

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This thesis presents the German magazine Arbeiter Illustrierte Zeitung (AIZ), one of the greatest illustrated papers at the time of Weimar Republic. The weekly was founded in the beginning of 1920s as a propaganda organ of the Workers' International Relief (Internationale Arbeiterhilfe, IAH), a mass organization formed to support workers in case of strikes or natural catastrophes. The founding of the magazine was entrusted to a communist activist and publisher Willi Münzenberg. Under his leadership the AIZ became the most popular left-wing illustrated magazine. It enforced socialism and fought to build a united anti-fascist front. AIZ collaborated with many prominent artists and writers, and its readers were attracted especially by the satirical photomontages of John Heartfield. After Nazi's took over Germany in 1933, AIZ exiled in Prague, where it continued its untiring fight against fascism and advocated the rights of the working class. In 1936, the magazine changed its name to Volks-Illustrierte in order to reinforce the united front movement. This thesis focuses on the history of the AIZ magazine, it describes the character and exile period of the weekly, which includes a brief introduction to selected members of Prague's editorial team. It also explores the lives and cultural work of German...
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Books on the topic "Heartfield"

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Peter, Pachnicke, and Honnef Klaus, eds. John Heartfield. H.N. Abrams, 1992.

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Heartfield, John. John Heartfield. Edited by Pachnicke Peter, Honnef Klaus, Adkins Helen, et al. DuMont, 1991.

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Heartfield, John. John Heartfield. Harry N. Abrams, Inc., 1992.

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Dominique, Lablanche, ed. Heartfield contre Hitler. Hazan, 1997.

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1891-1968, Heartfield John, ed. Heartfield montiert, 1930-1938. Edition Leipzig, 1993.

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Musée d'art moderne et contemporain de Strasbourg., ed. John Heartfield: 1891-1968. Musées e Strasbourg, 2006.

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Anthony, Coles. John Heartfield: A political life. Sussex Academic Press, 2016.

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Germany), Otto-Nagel-Haus (Berlin. John Heartfield zum 95. Geburtstag. Otto-Nagel-Haus, 1986.

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Herzfelde, Wieland. John Heartfield: Leben und Werk. 2nd ed. Verlag der Kunst, 1988.

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John Heartfield: Art and mass media. Tanam Press, 1985.

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Book chapters on the topic "Heartfield"

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Chiquet, Vera. "John Heartfields Fotomontagen." In Ästhetische Praxis. Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-12896-8_5.

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SCHULTZ, ANNA. "John Heartfield:." In Burning Bright. UCL Press, 2015. http://dx.doi.org/10.2307/j.ctt1g69z6q.29.

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"Heartfield in Context." In Clean New World. The MIT Press, 2001. http://dx.doi.org/10.7551/mitpress/1865.003.0005.

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Benz, Wolfgang. "George Grosz, John Heartfield, Lion Feuchtwanger." In Im Widerstand. Verlag C.H.BECK oHG, 2019. http://dx.doi.org/10.17104/9783406733611-29.

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Knoery, Franck. "John Heartfield et la tradition satirique française." In L’Image railleuse. Publications de l’Institut national d’histoire de l’art, 2019. http://dx.doi.org/10.4000/books.inha.8613.

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"Die Entstehung des Genres: Rodenbach, Breton, Tucholsky/Heartfield und Brecht." In Literarische Foto-Texte. transcript-Verlag, 2007. http://dx.doi.org/10.14361/9783839406540-003.

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"Kameraden und Kohlköpfe: John Heartfield im Universum der technischen Bilder." In Medien denken. transcript-Verlag, 2010. http://dx.doi.org/10.14361/transcript.9783839414866.123.

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Roth, Nancy. "Kameraden und Kohlköpfe: John Heartfield im Universum der technischen Bilder." In Medien denken. transcript Verlag, 2010. http://dx.doi.org/10.1515/transcript.9783839414866.123.

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"Die Entstehung des Genres: Rodenbach, Breton, Tucholsky/Heartfield und Brecht." In Literarische Foto-Texte. transcript Verlag, 2007. http://dx.doi.org/10.1515/9783839406540-003.

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"Contextualising the 'anti-capitalism' movement in global civil society: James Heartfield." In Global Civil Society. Routledge, 2004. http://dx.doi.org/10.4324/9780203001486-10.

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