循环摄影蒙太奇:法国共产主义网络对苏联视觉材料的挪用,1928-1936

IF 0.3 2区 艺术学 0 ART History of Photography Pub Date : 2021-01-02 DOI:10.1080/03087298.2021.2004018
Max Bonhomme
{"title":"循环摄影蒙太奇:法国共产主义网络对苏联视觉材料的挪用,1928-1936","authors":"Max Bonhomme","doi":"10.1080/03087298.2021.2004018","DOIUrl":null,"url":null,"abstract":"Intended to promote the success of rapid industrialisation, especially at the time of the first Five-Year Plan (1928–32), Soviet photography was disseminated to other countries through the networks of the Communist International. The circulation of Soviet photographs in the press helped define a specifically communist visual culture, characterised by idiosyncratic visual tropes and graphic treatment of images through photomontage and dynamic page layout. This article highlights the role of graphic designers and illustrators in the development of political photomontage in France, particularly through periodicals associated with the Communist Party such as Regards and the Almanach ouvrier et paysan. These illustrated publications often borrowed their iconography and innovative page layout directly from Soviet magazines such as USSR in Construction. By showing how images have been appropriated and transformed, I suggest that communist editors in the early 1930s encouraged a type of militant participation that challenged individual authorship.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"64 - 77"},"PeriodicalIF":0.3000,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Circulating Photomontage: The Appropriation of Soviet Visual Material by French Communist Networks, 1928–1936\",\"authors\":\"Max Bonhomme\",\"doi\":\"10.1080/03087298.2021.2004018\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Intended to promote the success of rapid industrialisation, especially at the time of the first Five-Year Plan (1928–32), Soviet photography was disseminated to other countries through the networks of the Communist International. The circulation of Soviet photographs in the press helped define a specifically communist visual culture, characterised by idiosyncratic visual tropes and graphic treatment of images through photomontage and dynamic page layout. This article highlights the role of graphic designers and illustrators in the development of political photomontage in France, particularly through periodicals associated with the Communist Party such as Regards and the Almanach ouvrier et paysan. These illustrated publications often borrowed their iconography and innovative page layout directly from Soviet magazines such as USSR in Construction. By showing how images have been appropriated and transformed, I suggest that communist editors in the early 1930s encouraged a type of militant participation that challenged individual authorship.\",\"PeriodicalId\":13024,\"journal\":{\"name\":\"History of Photography\",\"volume\":\"45 1\",\"pages\":\"64 - 77\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2021-01-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"History of Photography\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/03087298.2021.2004018\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"History of Photography","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/03087298.2021.2004018","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0

摘要

为了促进快速工业化的成功,特别是在第一个五年计划(1928-32)期间,苏联摄影通过共产国际的网络传播到其他国家。苏联照片在新闻界的传播帮助定义了一种特殊的共产主义视觉文化,其特点是独特的视觉修辞和通过蒙太奇和动态页面布局对图像进行图形处理。本文强调了平面设计师和插画师在法国政治蒙太奇发展中的作用,特别是通过与共产党有关的期刊,如Regards和Almanach ouvrier et paysan。这些插图出版物经常借用他们的图像和创新的页面布局直接从苏联杂志,如苏联在建设。通过展示图像是如何被挪用和转化的,我认为,20世纪30年代早期的共产主义编辑鼓励了一种挑战个人作者身份的激进参与。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
Circulating Photomontage: The Appropriation of Soviet Visual Material by French Communist Networks, 1928–1936
Intended to promote the success of rapid industrialisation, especially at the time of the first Five-Year Plan (1928–32), Soviet photography was disseminated to other countries through the networks of the Communist International. The circulation of Soviet photographs in the press helped define a specifically communist visual culture, characterised by idiosyncratic visual tropes and graphic treatment of images through photomontage and dynamic page layout. This article highlights the role of graphic designers and illustrators in the development of political photomontage in France, particularly through periodicals associated with the Communist Party such as Regards and the Almanach ouvrier et paysan. These illustrated publications often borrowed their iconography and innovative page layout directly from Soviet magazines such as USSR in Construction. By showing how images have been appropriated and transformed, I suggest that communist editors in the early 1930s encouraged a type of militant participation that challenged individual authorship.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
CiteScore
0.30
自引率
50.00%
发文量
23
期刊介绍: History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East.
期刊最新文献
The ‘Chok’ of Image ‘Constellations in Themselves’: Reframing Walter Benjamin’s ‘Little History of Photography’ (1931) Maria Morris Hambourg: A Curator Lighthouse for Photography Sandra S. Phillips with Allison Pappas and Natalie Zelt: Excerpt from Framing the Field Interview Transcript, 21–23 March 2022 Deborah Willis with Allison Pappas and Natalie Zelt: Excerpt from Framing the Field Interview Transcript, 8–9 June 2022 After the Flood: Notes on Photography and the Archive
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1