Die Fotomontage im faschistischen Italien

Research on the theory and history of photography has become established today both in the humanities and in cultural studies. This should not, however, lead us to disregard the need that exists for dialogue between these cultures of expertise: in art history and visual studies, in literary studies and history, and in museums and collections. Interest in the history of photography has increased rapidly in the age of digital images, and many contemporaries have experienced the transition from analog to digital photography as a paradigm shift. Investigating the history of the photographic image enables us to understand this change. The texts in this series seek to address these needs for a crossdisciplinary exchange of knowledge in the study of photography.