framesfromfilmedfootage.Stillphotographs,heargued,provide
aestheticandemotionalimpressionbutlacktheprecisionoftheciné-
camera,which‘cannothelpbutrecordthemostinstructivemoment’.^11
Fanckforcedtheargumentalittle,usingevocativelyblurryphotographs
andcrispfilmframesasillustration.Hisconclusionistoosimple,
insensitivetothefactthattechnicalandinstructiveimagesarealso
aestheticandemotional,particularlywhentheyarenew.^12 Fanck’s
concernechoesthedebatestriggeredbyMuybridge’sworkinthe 1870 s.
Werehisstudiesofhumanandanimallocomotionscienceorart?Such
thingsareneverclear-cut.AswithMuybridge’sphotographs,what
Fanck’sfilm-stripslackedinscientificrigourtheymadeupforinmarking
theemergenceofanewaestheticofarrestedmovement.
Thatmixofinstructionandattractionledtothespreadoffilm-strip
sequencesinprint.Theybecameastapleofeverythingfromavant-garde
manifestosandfilmjournalstophoto-novelsandfanmagazines.(Tothis
dayacolumnofabuttedimagesremainsthesimplestwaytosignify‘cinema’
onthepage.)OneofthemostelaborateexampleswasthebookFilm-
Fotos Wie Noch Nie(FilmPhotosasNeverSeenBefore)of 1929 ,apopular
66 overviewofcinemaboasting 1 , 200 images.Mainstreammovieswere
53 Arnold Fanck, illustration from ‘Photo-
graphedMovement’,Das Deutsche Lichtbild
(Berlin, 1932).
54 Arnold Fanck, page of film strips from
Wunder des Schneeeschuhs: Ein System
des richtigen Skilaufens und seine
Anwendung[The Wonders of Skiing]
(Hamburg, 1925).
