exoticanimals.Theimpliedfilmwasnevermade,althoughthekaleido-
scopicapproachtoformandmotifsinthesketchcanbeseeninWalter
Ruttman’sBerlin, Symphony of a Great City( 1927 ),DzigaVertov’sMan With
a Movie Camera( 1929 )andJeanVigo’sA propos de Nice( 1930 ).Indeed,
Moholy-Nagy’sreinventionofthepageasakindofpara-cinemawas
perhapsmoreradicalthantheslightlybanalfilmitmighthavegenerated.
Thefinalspreadof‘DynamicoftheMetropolis’includestwofilm
framesofaskierinaction.TheGermandirectorandcameramanArnold
Fanckhadshotextensivecine-filmofthesportinordertopresentframe-
by-frameanalysisasateachingbook.HislavishThe Wonders of Skiing
( 1925 )comprisedinstructionaltext,stillphotographsandasetofloose
filmstripsequences.^10 Inhisessay‘PhotographedMovement’,Fanck
contrastedtheshootingofactionwithastillcameraandtheextractionof 65
52 Final spread of Moholy-Nagy’s
‘Dynamic of the Metropolis’ from his
Malerei, Fotografie, Film(Munich, 1925),
translated asPainting, Photography,
Film(Boston, 1969).