![]() And yet the public/private opposition operative in the field of the New Photography (G. Accordingly, the tension between pressures to mobilize such photographic realism toward propagandistic ends on the one hand - whether on the political left (in magazines such as AIZ and Battle Flag) or on the right (as in Der Stürmer and NIPPON) - and to withdraw into an antirepresentational, subjective formalism on the other was actively mediated by photomontage’s denaturalization of the photographic print’s surface continuity. I will suggest that in interwar Germany and Japan, this avant-garde technique was always torn by an ambivalence between celebration of the machine age, as in Horino Masao’s, Furukawa Narutoshi’s, and Paul Citroen’s respective industrial montages, and more critical, antiauthoritarian impulses, as evident in the politically edged photomontages of, for example, Yasui Nakaji and Ōkubo Koroku, drawing from the Dadaist collages of Hannah Höch and Laszlo Moholy-Nagy as well as the radical Soviet montages of Gustav Klutsis.Īs numerous observers recounted at the time, the photographic medium provided a readily available means to document social reality for a newfound public constituted through mechanical reproduction. I aim to situate this circulation at the epicenter of the escalating antagonism over the public sphere as a site for the contest between proletarian collectivization and fascist mass formation that rifted both German and Japanese society. This article will examine the circulation of modernist photomontage among Weimar-era Germany, the Soviet Union, and interwar Japan of the 1930s.
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