John Heartfield – Photography plus Dynamite “Montage of Attractions" – and Time Shifts
In his very first film Strike (1925), Sergei Eisenstein elevates the “montage of attractions” to an aesthetic paradigm. Inspired by the Theatre du Grand Guignol, the circus and Cubism, and “full of whirl and scramble”, he experimented with superimpositions, fades and animal analogies in order to achieve maximum political effect. In his work, Heartfield explicitly referenced Eisenstein’s theories of montage. In a completely different manner, in his now classic photo film La Jetée (1962), Chris Marker tells the story of a journey through time in which past and present overlap.
The event is part of the programme accompanying the exhibition "John Heartfield – Photography plus Dynamite".