Chapter 1. Urban Eyes – An Introduction1.1 Photography and Exile: State of the Art1.2 Migrating Material: Archives and Source Material1.3 Forging the City: Research Question and MethodologiesChapter 2. New York as an “Arrival City” for German-speaking Émigré Photographers in the 1930s and 1940s2.1 The Camera as a Portable Medium in New York Exile2.2 Photography in New York in the First Half of the 20th CenturyChapter 3. From Europe to New York : Emigration Routes between Departure, Passage, and Arrival3.1 Between Europe and New York: Images of Departure as Remembrance3.2 At Sea, on Board, or on Stopover: Transitory Photographs on the Passages 60 3.3 Me and the Camera: First Pictures in New YorkChapter 4. Camera Actors in the City : Urban Practices in New York Exile4.1 Footpath, Passers-by, and Facades: Walking and Photographing in Urban Space in New York4.2 Fast or High Up: Photographing Driving under, through, or over the City4.3 Window Views: Serial Photography from the ApartmentChapter 5. Printed Photographs : Photobooks and Photo Albums in New York Exile5.1 Conceiving and Circulating: Exile Publishers as Catalysts for Photobook Publications5.2 The City as Book: Photobooks of and about New York5.3 From South to North and East to West: Photonarrative Street and Milieu Studies in the Photobook5.4 Exploring, Experimenting, and Gluing: The Conception of Photo Albums and Scrapbooks in New YorkChapter 6. Business with Pictures : Photographic Economies in Exile6.1 Selling Your Pictures: Photo Agencies as Networks and Sources of Income in Exile6.2 “The World of Tomorrow”: The 1939 World’s Fair in New York as a Pictorial Motif and Commission Opportunity6.3 Translating and Photographing: Freelance Work for the Museum of Modern Art6.4 Dance, Theatre, Animals: Female Émigré Photographers’ Photo Studios around Central ParkChapter 7. Photo Experts in Exile : Transcultural Photographic Theories and Practices between Exchange, Teaching, and Mediation7.1 Exhibiting and Representing: Artistic Photo Discourses at Weyhe Gallery and Norlyst Gallery around 57th Street7.2 Teaching and Practicing: Photography Courses at the New School for Social Research7.3 Photography for All: Photographic Theory and Practice through Popular Photography and ManualsChapter 8. Emigration Shapes the City : Photographic Places of Exile in New York8.1 Transtopia: The Photographic Reappraisal of Emigration in the Ellis Island Internment Camp8.2 Visualising Placemaking: German-speaking Life around East 86th Street in Yorkville8.3 In Public, In Private: Intermedial and Transcultural Contact Zones on West 21st Street in Chelsea8.4 Queering Places: The Portrait Studio as Site of Sexual Orientation and Artistic Practice in ExileChapter 9. Functions of Photography in Exile and for Migration Studies – EpilogueAppendixesI. Biographies of German-speaking Émigré Photographers in New York in the 1930s and 1940sII. Permanent/Freelance German-speaking Emigrant Photographers at Black Star, 1935–1950AcknowledgementsList of AbbreviationsNotesArchivesBibliographyIndex of Persons, Institutions, Magazines, Photobooks, and NeighbourhoodsExile through the camera’s eye in New YorkWhen the National Socialists came to power, New York became a major city of arrival and a new base for German-speaking photographers. At this time, photography was undergoing a radical transformation as it sought to establish itself as an art form. The émigrés, in turn, brought with them a broad spectrum of professional training and photographic skills. The camera served as a medium for engaging with the metropolis, reflecting on the experience of migration, building networks and simply surviving economically. In order to comprehensively analyse the complex relationships between photography and exile in the context of the metropolis of New York, Helene Roth takes a closer look at the creative achievements and heterogeneous perspectives, but also the setbacks of émigré photographers. From a transnational perspective, she engages with the socio-cultural, political and artistic developments of the 1930s and 1940s.When the National Socialists came to power, New York became a major city of arrival and a new base for German-speaking photographers. At this time, photography was undergoing a radical transformation as it sought to establish itself as an art form. The émigrés, in turn, brought with them a broad spectrum of professional training and photographic skills. The camera served as a medium for engaging with the metropolis, reflecting on the experience of migration, building networks and simply surviving economically. In order to comprehensively analyse the complex relationships between photography and exile in the context of the metropolis of New York, Helene Roth takes a closer look at the creative achievements and heterogeneous perspectives, but also the setbacks of émigré photographers. From a transnational perspective, she engages with the socio-cultural, political and artistic developments of the 1930s and 1940s.