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The visual culture of surface: Berl...

Whitner, Claire Chandler.

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The visual culture of surface: Berlin modernism and the pictorial public.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The visual culture of surface: Berlin modernism and the pictorial public./
作者:	Whitner, Claire Chandler.
面頁冊數:	275 p.
附註:	Adviser: Todd Samuel Presner.
Contained By:	Dissertation Abstracts International69-02A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3302603
ISBN:	9780549485629

The visual culture of surface: Berlin modernism and the pictorial public.
Whitner, Claire Chandler.

The visual culture of surface: Berlin modernism and the pictorial public. - 275 p.

Adviser: Todd Samuel Presner.

Thesis (Ph.D.)--University of California, Los Angeles, 2008.

In this dissertation, I explore how the introduction of the modern poster to Wilhelmine Berlin led to the birth of an urban visual culture. In under a decade, Berlin transformed from a city without pictures to an urban terrain replete with visual material. In arguing that the accession of images into the cityscape constituted a pictorial turn, I contend that poster art did not merely alter the appearance of the city. Through an analysis of the posters published during the late 1890s through World War I and the critical response to the first modern posters and developments in poster design, I show how the ascent of visual primacy in mass communication fundamentally changed how the public was conceived and addressed and how social identities were constructed and accessed.

ISBN: 9780549485629Subjects--Topical Terms:

635474
Art History.

The visual culture of surface: Berlin modernism and the pictorial public.
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520 $a In this dissertation, I explore how the introduction of the modern poster to Wilhelmine Berlin led to the birth of an urban visual culture. In under a decade, Berlin transformed from a city without pictures to an urban terrain replete with visual material. In arguing that the accession of images into the cityscape constituted a pictorial turn, I contend that poster art did not merely alter the appearance of the city. Through an analysis of the posters published during the late 1890s through World War I and the critical response to the first modern posters and developments in poster design, I show how the ascent of visual primacy in mass communication fundamentally changed how the public was conceived and addressed and how social identities were constructed and accessed.
520 $a In examining the impact of the modern poster, I investigate the status of the image in Berlin modernism. To a great extent, the implementation of poster art as an advertising tool is arguably part of a larger trend towards the visual in Wilhelmine Berlin. Poster art serves as an invaluable artifact through which to evaluate the relationship between the image, public and modernization, as the ascent of the visual is paired with the means by which the public was recognized as a subject worthy of address and was able to act independently of the state, specifically through the city's modern economy.
520 $a Central to the theorization of postmodernism has been the recognition that the perpetual dissemination of images through mass media has had a definitive influence on contemporary culture. Furthermore, the characterization of postmodern society as a product of its image-saturated environment is largely presented as a decline in the functionality of the public sphere. By investigating the initial attempts to understand how images operate on the public and the mobilization of theories regarding the relationship between pictures and their publics in Wilhelmine Berlin, I present an engagement with visuality that does not look woefully back to an unrecoverable idealization of a public unfettered by images, but rather reflects an acceptance of modernism's visual turn and the advancement of visual agendas that resonate with the image's status in it.
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