바이마르 시기 독일에서 가지는 포토몽타주의 문화비평적 의미에 대한 재고
A reconsideration of the critical role of photomontage in the cultural context of Weimar Germany
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This paper investigates the way in which Weimar Germany confronted the task of modernization by incorporating new technology into existing culture. While the Germans thought that they could create a new democratic utopia by means of technological progress, they constantly cited zeitgeist, the spirit of the time, as the impetus for social change. It suggests their fear for spiritual loss that might have had to be paid for the enormous gain acquired through technological development. The German utopian vision of modernity was shaded with the ambivalence between hope and fear for the unproved promise of technology that could both elevate and subvert their culture. By making a parallel between Raoul Hausmann’s notion of the New Man to Hannah Höch’s use of mass media images of the New Woman, this paper examines how the Kultur-Zivilisation dichotomy in Weimar Germany was projected on to the stereotypes of the New Man and the New Woman. This paper contents that the stereotypes were constituted as cultural strategies within Weimar Germany’s “reactionary modernism.” It also argues that the stereotype of the New Man was associated with the domain of culture, philosophies, or politics, whereas that of the New Woman was tied to the sphere of economics and the market. Although they shared utopian enthusiasm regarding modern technology, they differed in critiquing the culture that they experienced, responding to either side of the same coin, that is, culture and civilization of Weimar Germany. Hausmann left plenty of written statements expressing his utopian vision, whereas Höch left complied scrapbooks of mass media photographs as her archive, from which to compose her utopian vision. This paper argues that the stereotype of the New Man was constituted mainly in an abstract domain of the utopian discourse, whereas that of the New Woman was embodied in mechanically produced images in mass print media and consumed in consumer culture. The different ways in which the stereotypes were formed signify the German’s ambivalence in reconciling their utopian vision with the social changes generated by the new technological development.
Abstract
This paper investigates the way in which Weimar Germany confronted the task of modernization by incorporating new technology into existing culture. While the Germans thought that they could create a new democratic utopia by means of technological progress, they constantly cited zeitgeist, the spirit of the time, as the impetus for social change. It suggests their fear for spiritual loss that might have had to be paid for the enormous gain acquired through technological development. The German utopian vision of modernity was shaded with the ambivalence between hope and fear for the unproved promise of technology that could both elevate and subvert their culture. By making a parallel between Raoul Hausmann’s notion of the New Man to Hannah Höch’s use of mass media images of the New Woman, this paper examines how the Kultur-Zivilisation dichotomy in Weimar Germany was projected on to the stereotypes of the New Man and the New Woman. This paper contents that the stereotypes were constituted as cultural strategies within Weimar Germany’s “reactionary modernism.” It also argues that the stereotype of the New Man was associated with the domain of culture, philosophies, or politics, whereas that of the New Woman was tied to the sphere of economics and the market. Although they shared utopian enthusiasm regarding modern technology, they differed in critiquing the culture that they experienced, responding to either side of the same coin, that is, culture and civilization of Weimar Germany. Hausmann left plenty of written statements expressing his utopian vision, whereas Höch left complied scrapbooks of mass media photographs as her archive, from which to compose her utopian vision. This paper argues that the stereotype of the New Man was constituted mainly in an abstract domain of the utopian discourse, whereas that of the New Woman was embodied in mechanically produced images in mass print media and consumed in consumer culture. The different ways in which the stereotypes were formed signify the German’s ambivalence in reconciling their utopian vision with the social changes generated by the new technological development.
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