151See David Campany, ‘The Career of a Photographer, the Career of a
Photograph: Bill Brandt’s Art of the Document’, in Tanya Barson et
al.,Making History: Art and Documentary in Britain from 1929 to
Now(Liverpool, 2006 ), pp. 51 – 61.
20 See Stefan Lorant,Chamberlain and the Beautiful Llama and 101
More Juxtapositions fromLilliput (London, 1940 ).
21 Bill Brandt,A Night in London: A Story in 64 Photographs(London
and Paris, 1938 ).
22 Brandt was impressed by Surrealist film, particularly Luis Buñuel’s
Un chien andalou( 1929 ) andL’Age d’or( 1930 ). Jennings was a part
of the British Surrealist movement, out of which Mass-Observation
was formed.
23 The best-known citation of the passage is by Walter Benjamin in
his ‘A Small History of Photography’ [ 1929 ], inOne-Way Street and
Other Writings(London, 1979 ), pp. 240 – 57.
24 On this absence, see Sally Stein, ‘Good Fences Make Good
Neighbors: American Resistance to Photomontage between the
Wars’, inMontage and Modern Life, ed. Matthew Teitelbaum
(Boston,ma, 1992), pp. 129 – 89.
25 Alan Trachtenburg reads Evans’s sequencing through Sergei
Eistenstein’s theories of montage. See hisReading American
Photographs:ImagesasHistory.MatthewBradytoWalkerEvans(New
York, 1989 ), pp. 258 – 9. Only the first half of the book is sequenced this
way. The second half is much more of an album of collected images.
26 Lincoln Kirstein, ‘Photographs of America: Walker Evans’, in
Walker Evans,American Photographs(New York, 1938 ), pp. 192 – 3.
27 Jeff Wall, ‘“Marks of Indifference”: Aspects of Photography in, or
as, Conceptual Art’, inReconsidering the Object of Art, 1 965–1975, ed.
Ann Goldstein and Anne Rorimer (Los Angeles, Cambridge,ma,
and London, 1996 ), pp. 246 – 67.
28 ‘A Hard Look at the New Hollywood’ [photographs by Robert
Frank, essays by Orson Welles, Ben Hecht and Dwight McDonald],
Esquire(March 1959 ), pp. 51 – 66.
29 There are different versions of both of these images by Frank in his
bookThe Americans. There was actually a premiere taking place at
the cinema the night that Frank shot the ticket taker whomEsquire
described as looking ‘lethargic’.The Americansincludes a portrait
of a glamorous fur-clad woman in front of the same Art Deco
façade titled ‘Hollywood Premiere’. While the general point about
the decline of cinema was right, there was some licence taken in
the use of the image of the ticket seller.
30 Alexey Brodovitch,Ballet(New York, 1945 ).
31 William Klein,Life Is Good and Good for You in New York: Trance
Witness Revels(Paris and London, 1956 ).
32 William Klein, ‘Preface’, inNewYork,1954–55(London, 1996 ), pp. 4 – 5.
33 Van der Elsken’s images ran in four issues ofPicture Postin
February 1954.
34 Chris Marker, quoted by Martin Harrison’s afterword inWilliam
Klein: In and Out of Fashion(New York, 1994 ), p. 249.
35 Daido Moriyama quoted inThings as They Are: Photojournalism in
Context since 1955 , ed. Mary Panzer (London, 2005 ), p. 178.
36 Robert Frank,The Lines of My Hand(New York, 1972 ). The book
was first issued in a different design in Japan.
37 See Larry Clark,Tulsa(New York, 1971 ); Nobuyoshi Araki,A
Sentimental Journey(Tokyo, 1971 ); Susan Meiselas,Carnival
Strippers(New York, 1976 ); Danny Lyon,Pictures from the New
World(Millerton,ny, 1980 ); Nan Goldin,The Ballad of Sexual
Dependency(Millerton,ny, 1986 ); Larry Sultan,Pictures From Home
(Boston,ma, 1992); Jim Goldberg,Raised by Wolves(New York,
1995 ); Wolfgang Tillmans,Truth Study Center(Cologne, 2005 ),
Rinko Kawauchi, The Eyes, the Ears(Tokyo, 2005 ).
38 See Maitland Eddy’s introductory essay inGreat Photographic
Essays From Life, ed. Constance Sullivan (Boston,ma, 1978).
39 Lollobrigida featured in what is regarded at the firstfotoromanzo,
Nel fondo del cuore(‘Deep in My Heart’ ), published in 1947.
40 Blake Stimson, ‘Introduction: The Photography of Social Form’,
inThe Pivot of the World: Photography and Its Nation(Boston,ma,
2006 ), pp. 13 – 58. The simplicity of the photonovel and cartoon
photosequence did have other advantages. In the 1970 s they
became useful tools in mass-literacy initiatives and public-health
campaigns in Central America and the Hispanic communities in
the United States. They also live on in the form of the love-story
comics produced for adolescents (mainly girls), who seem to
identify with the inherently awkward poise of its form, and in post-
modern parodies and critiques of the form, such as the artist Suky
Best’sPhoto Love( 1995 – 7 )
41 Krull’s best-known narrative photo book isLa folle d’Itteville(Paris,
1931 ). She supplied the images for the story by Georges Simenon.
42 Alain Robbe-Grillet,The Immortal One, trans. A. M. Sheridan
Smith (London, 1971 ), pp. 5 – 6.
43 Jean Luc-Godard, ‘Parlons de Pierrot’,Cahiers du Cinéma, 171
(October 1965 ); translated as ‘Let’s Talk about Pierrot’, inGodard
on Godard, ed. Tom Milne (New York, 1972 ), pp. 215 – 34.
44 Jean-Luc Godard,Journal d’une femme mariée(Paris, 1965 ).
45 Alain Resnais,Repérages(Paris, 1974 ). Resnais took the photos
between 1956 and 1971 , many while looking for possible locations for
his still unmade film based on the fictional detective Harry Dickson.
46 Jules Spinatsch,Temporary Discomfort Chapteri–v:Davos, Genoa,
New York, Evian, Geneva(Baden, 2005 ).three:Photography in Film1 Garrett Stewart seems to have done just this in his exhaustive
Between Film and Still: Modernism’s Photo Synthesis(Chicago,il,
1999 ).
2 ‘In the daily flood of photographs, in the thousand forms of inter-
est they seem to provoke, it may be that thenoeme “That has been”