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In the wake of recent transformations in moving-image media and screen culture, there is a growing sense today that linear narrative may be losing its longheld dominance. From the prevalence of special effects in popular cinema to the practice of found-footage film and museum installations, the digital age is downplaying narrative’s developmental logic in favor of attractional, structural, or simply visceral presentational modes.1 Thus Lev Manovich has famously argued that the “age of the computer” ushered in a paradigm shift from an art of narrative to one of “database.”2 Detectible above all in interactive computer formats but also in film work such as that of Peter Greenaway, database art presents its material not as a syntagmatic chain of events but as a “list of items”: a paradigmatic inventory of all the potential choices—or other

Cutting through the Archive: Querschnitt Montage and Images of the World in Weimar Visual Culture