In 1920s Weimar Germany, Hannah Höch (1889-1978) broke with established modes of representation and ways of seeing. She is regarded as one of the inventors of collage-which she referred to as "montage"-and in her work, she moved between worlds: as the only female member of Berlin Dada and as an employee of a major publisher of illustrated magazines. Her montages shattered a world that was characterized both by catastrophic crises and a radical sense of progressive optimism, and she reassembled its pieces using her critical eye and sense of irony. Montage, as a revolutionary new art form, rapidly became a central principle of the international avant-garde: an art form for the age of mass culture. Even after the horrors of the Second World War, Höch stayed true to this medium and to her profound and poetic imagination. This richly illustrated book explores Hannah Höch's engagement with the visual culture of the modern industrial age, and in particular with film. Moreover, it demonstrates how Höch developed montage into a powerful form of visual expression at the intersections of artistic experimentation, commercial appropriation, and political co-optation.