eventuallypublishedinnumerousvolumesafterthewar.Malrauxargued
thatitwasthedestinyoftheartofantiquitytoberedefinedbymodernity,
firstbybeingdisplacedintomuseums,thendisseminatedviatheprinted
page.Asadisciplinearthistorystillpreferstothinkofphotographyas
transparentratherthantransformative,enablingratherthanconstructing.
ButlikeWarburg,Malrauxwasattimesovert,makinguseofmanyeditorial
anddesigntrickstobringabouthisvisualargument.Sculptureswere
litforthecameratoemphasizeselectedqualities.^7 Imageswereplaced
sidebysidetoassertconnections;printswereflippedlefttorighttoaid
graphicflow;dramaticcropsandclose-upsmobilizedthepage.^8 Allthese
techniqueswerecommonincinema,but,asBeaumontNewhallnotedin
1937 ,‘photographsofportionsofobjects(close-ups)weremostuncom-
monbeforethemovingpicture’.^9
Moholy-Nagy’sPainting, Photography, Filmconcludedwiththe
sevenspreadsofhis‘DynamicoftheMetropolis’(subtitled‘Sketchofa
ManuscriptforaFilm’).Itcombinedtypography,graphicdesignand
photographsinalayoutchargedwiththeenergyofamoderncityonthe
move.Thereisnonarrativeassuch,rathera‘sketch’oftemporalprogres-
sions.Therearetypographicindicesofspeedandmovement,vertiginous
pointsofviewandsuggestionsforrhythmsandtempos.Thesubjectmatter
64 waschosenaccordingly:radiotowers,railways,sportsandmilitaryactivity,
51 Spread from André Malraux’s
Le Musée imaginaire de la sculpture
mondiale(Paris, 1952).
