TY  - CONF
  - Sabine T. Kriebel
  - University College Cork: War in the Visual Arts: An International, Interdisciplinary Conference
  - Plenary Lecture: "Prophetic Mourning: John Heartfield's Antifascist Imaginary"
  - University College Cork/Crawford Art Gallery
  - Plenary Lecture
  - 2013
  - ()
  - 0
  - 12-SEP-13
  - 21-SEP-13
  - In this paper, I analyze the rhetoric of temporality and the presence of absence as a radical Left tactic, focusing on John Heartfield’s mass-circulation photomontages in the Communist Arbeiter Illustrierte Zeitung between 1930-1938, a period of political extremes. Though Heartfield is admired for his witty, antagonistic imagery of the enemy rather than heroic Communist propaganda, critical accounts overlook how these “furious lampoons” constituted a contribution to revolution.  I examine the complex temporal structures of Heartfield’s photomontages—what I call his “future anterior,” or, the structure of “what will have been” – in order to elucidate one dimension of his radical activism that proved prophetic. Heartfield’s photomontages mobilize a culture of fear and its repression, memory and mourning, in a socialist sur-realism rooted in the 1930s social imaginary.  Communist revolution is a spectral presence that dominates by its absence, an implied potential-future, a counterpart to the horror and anomie of capitalism’s present.  
DA  - 2013/NaN
ER  - 

@unpublished{V230528731,
   = {Sabine T. Kriebel },
   = {University College Cork: War in the Visual Arts: An International, Interdisciplinary Conference},
   = {{Plenary Lecture: "Prophetic Mourning: John Heartfield's Antifascist Imaginary"}},
   = {University College Cork/Crawford Art Gallery},
   = {Plenary Lecture},
   = {2013},
   = {()},
   = {0},
  month = {Sep},
   = {21-SEP-13},
   = {{In this paper, I analyze the rhetoric of temporality and the presence of absence as a radical Left tactic, focusing on John Heartfield’s mass-circulation photomontages in the Communist Arbeiter Illustrierte Zeitung between 1930-1938, a period of political extremes. Though Heartfield is admired for his witty, antagonistic imagery of the enemy rather than heroic Communist propaganda, critical accounts overlook how these “furious lampoons” constituted a contribution to revolution.  I examine the complex temporal structures of Heartfield’s photomontages—what I call his “future anterior,” or, the structure of “what will have been” – in order to elucidate one dimension of his radical activism that proved prophetic. Heartfield’s photomontages mobilize a culture of fear and its repression, memory and mourning, in a socialist sur-realism rooted in the 1930s social imaginary.  Communist revolution is a spectral presence that dominates by its absence, an implied potential-future, a counterpart to the horror and anomie of capitalism’s present.  }},
  source = {IRIS}
}