Chaplin Smiles on the Wall
Berlin Dada and Wish-Images of Popular Culture
Bibliographic Data
| ID | 4070670 |
|---|---|
| Authors | Sherwin Simmon, Sherwin Simmons (corresponding author) |
| Year | 2001 |
| Issue | 84 |
| Pages | 3 |
| Publication date | 2001-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | New German Critique (JOURNAL) |
| Journal identifiers | ISSN: 0094-033X • E-ISSN: 1558-1462 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/827796 |
| OpenAlex | W2327811242 |
| Language | EN |
| Citations received | 3 |
| References cited | 1 |
Hans Reimann, a writer and editor of satire during the Weimar Republic, published an essay in 1923 that, although unmentioned in recent scholarship, remains one of the most cogent and evocative sketches of George Grosz's character and artistic interests. Reimann placed particular stress on the role played in Grosz's development by serialized adventure stories, illustrated magazines, cheap oleographs, and cinema. This mass-produced popular culture became a major economic and social force before World War I, finding its audience among the lower classes. Reimann, noting that Grosz grew up within that audience, wrote, Rudolf Zimmermann, The Fearless Bandit or Wenzel Kummer, The Secrets of the Kottbus Fortress formed the reading of George, who was always keen on the true people's literature. This enthusiasm for popular culture continued into the early 1920s, emblematized for Reimann by the decor of Grosz's studio where Chaplin smiles on the wall, George Grosz's Mona Lisa.2 Berlin Dada's interests in such entertainments have been noted in
Art · Art history · Literature · Popular culture · Wish · Art, Politics, and Modernism · Cinema and Media Studies · Walter Benjamin Studies Compilation
| Citations per year | 0.19 |
|---|---|
| Citation span | 2010 - 2017 (8) |
| Highly cited | No |