Hannah H-ch (1889-1978) moved between differing worlds: as an editorial assistant with a major Berlin-based magazine publisher, and as the only woman who could hold her own in the German capital-s vibrant Dada scene of the 1920s. H-ch broke with the traditions of representation and vision. Her works dissected a world marked by the catastrophe of the Great War and an intense consumer culture, and reassembled it in revolutionary, poetic, and often ironic ways. H-ch kept to her artistic means and her poetic-radical imagination, shimmering between social observation and dream world, even in the post-WWII period. Scissors and glue were the weapons of her art of montage, of which she was a co-inventor.
Cutting and montage also shaped film, still a new medium in the 1920s, which strongly influenced H-ch-s art: she understood her assembled pictures as static films. This richly illustrated and expertly annotated book explores comprehensively for the first time H-ch-s fascination with film
