Reactionary Idyll? Central European Homeland-Photography in a
Transnational Context

a 2019

Reactionary Idyll? Central European Homeland-Photography in a Transnational Context

SECKLEHNER, Julia

Základní údaje

Originální název

Reactionary Idyll? Central European Homeland-Photography in a Transnational Context

Autoři

SECKLEHNER, Julia (40 Rakousko, garant, domácí)

Vydání

Association of Slavic, Eastern European and Eurasian Studies annual conference, 23. 11. 2019, San Francisco Marriott Marquis, 2019

Další údaje

Jazyk

angličtina

Typ výsledku

Konferenční abstrakt

Obor

60401 Arts, Art history

Stát vydavatele

Spojené státy

Utajení

není předmětem státního či obchodního tajemství

Odkazy

odkaz na program konference

Kód RIV

RIV/00216224:14210/19:00112177

Organizační jednotka

Filozofická fakulta

Klíčová slova česky

dějiny umění; fotografie; meziválečné umění; Československo

Klíčová slova anglicky

art history; photography; Czechoslovakia; interwar art

Štítky

rivok

Příznaky

Mezinárodní význam

Změněno: 17. 4. 2020 21:20, prof. Mgr. Ondřej Jakubec, Ph.D.

Anotace

V originále

So-called homeland-photography was a widespread phenomenon across 1930s Central Europe. Yet even though it also had a strong base in Czechoslovakia, Hungary and Poland, homeland-photography has almost exclusively been assessed in the context of Austrian Heimatphotographie, characterised by sublime natural landscapes and romanticised views of folk culture – expressions of belief in an idealised ‘homeland’. At once tied to and reacting against modernity, an important function of Heimatphotographie was to affirm the existence of an Austrian nation, especially during the reactionary Dollfuß/Schuschnigg era (1933-1938). As a consequence, interpretations of homeland-photography have dominantly been associated with a regressive conservatism, in which a fabricated belief in the ‘homeland’ steadily progresses towards the ‘blood and soil’ ideology of Nationalist Socialism. However, this development is hardly representative of the wider phenomenon of homeland-photography in Central Europe. In order to shed more light on its complexities, my paper assesses works by photographers in Czechoslovakia, including Karol Plicka and Jaromír Funke, and compares them to Austrian examples by Rudolf Koppitz and Trude Fleischmann, among others. How and to what end did these photographers transmit belief in the ‘homeland’? While their images fall within formal definitions of homeland-photography, the ideological notions of the ‘homeland’ they were tied to went far beyond the fascist ideology the movement has been associated with. Taking this into account, my paper reconsiders photographic interpretations of the ‘homeland’ as a particular tendency of vernacular modernism, whose ideological framing was far more complex than its association with reactionary political thought would allow for.

Návaznosti

786314, interní kód MU

Název: Continuity and Rupture in Central European Art and Architecture, 1918-1939 — CRAACE (Akronym: CRAACE)

Investor: Evropská unie, Continuity and Rupture in Central European Art and Architecture, 1918-1939 — CRAACE, ERC (Excellent Science)

Citovat

SECKLEHNER, Julia. Reactionary Idyll? Central European Homeland-Photography in a Transnational Context. In Association of Slavic, Eastern European and Eurasian Studies annual conference, 23. 11. 2019, San Francisco Marriott Marquis. 2019.

@proceedings{1601025,
   author = {Secklehner, Julia},
   booktitle = {Association of Slavic, Eastern European and Eurasian Studies annual conference, 23. 11. 2019, San Francisco Marriott Marquis},
   keywords = {art history; photography; Czechoslovakia; interwar art},
   language = {eng},
   title = {Reactionary Idyll? Central European Homeland-Photography in a Transnational Context},
   url = {https://convention2.allacademic.com/one/aseees/aseees19/index.php?cmd=Online+Program+View+Paper&selected_paper_id=1535115&PHPSESSID=pre8edi6h14usmjh8ed2b8su87},
   year = {2019}
}

TY  - CONF
ID  - 1601025
AU  - Secklehner, Julia
PY  - 2019
TI  - Reactionary Idyll? Central European Homeland-Photography in a Transnational Context
KW  - art history
KW  - photography
KW  - Czechoslovakia
KW  - interwar art
UR  - https://convention2.allacademic.com/one/aseees/aseees19/index.php?cmd=Online+Program+View+Paper&selected_paper_id=1535115&PHPSESSID=pre8edi6h14usmjh8ed2b8su87
L2  - https://convention2.allacademic.com/one/aseees/aseees19/index.php?cmd=Online+Program+View+Paper&selected_paper_id=1535115&PHPSESSID=pre8edi6h14usmjh8ed2b8su87
N2  - So-called homeland-photography was a widespread phenomenon across 1930s Central Europe. Yet even though it also had a strong base in Czechoslovakia, Hungary and Poland, homeland-photography has almost exclusively been assessed in the context of Austrian Heimatphotographie, characterised by sublime natural landscapes and romanticised views of folk culture – expressions of belief in an idealised ‘homeland’. At once tied to and reacting against modernity, an important function of Heimatphotographie was to affirm the existence of an Austrian nation, especially during the reactionary Dollfuß/Schuschnigg era (1933-1938). As a consequence, interpretations of homeland-photography have dominantly been associated with a regressive conservatism, in which a fabricated belief in the ‘homeland’ steadily progresses towards the ‘blood and soil’ ideology of Nationalist Socialism. However, this development is hardly representative of the wider phenomenon of homeland-photography in Central Europe. In order to shed more light on its complexities, my paper assesses works by photographers in Czechoslovakia, including Karol Plicka and Jaromír Funke, and compares them to Austrian examples by Rudolf Koppitz and Trude Fleischmann, among others. How and to what end did these photographers transmit belief in the ‘homeland’? While their images fall within formal definitions of homeland-photography, the ideological notions of the ‘homeland’ they were tied to went far beyond the fascist ideology the movement has been associated with. Taking this into account, my paper reconsiders photographic interpretations of the ‘homeland’ as a particular tendency of vernacular modernism, whose ideological framing was far more complex than its association with reactionary political thought would allow for.
ER  -

SECKLEHNER, Julia. Reactionary Idyll? Central European Homeland-Photography in a Transnational Context. In \textit{Association of Slavic, Eastern European and Eurasian Studies annual conference, 23. 11. 2019, San Francisco Marriott Marquis}. 2019.

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