Abstract
In this article, the practice of photomontage is presented as a revolutionary agent capable of reconfiguring real events and creating new narratives based on political interests. To this end, two different approaches to the role of photomontage are presented, both carried out in a context where the political scenario was undergoing deep restructuring.In the first case, described through an analysis of a set of works by John Heartfield, the photomontage is characterised by a discourse of opposition to a rising fascist political regime in Germany, revealing this practice as a potential medium to propose a rereading of real events and to appeal to the critical sense of the public. In this context we can say that photomontage acts as an (anti)political weapon.In the second case, described through the analysis of a set of works by authors such as Klutsis or El Lissitzky, photomontage is characterised by a discourse in accordance with a new political era taking place in the Soviet Union in the sequence of the October Revolution.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: Fotocinema. Revista científica de cine y fotografía
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
