imagestogether.ShotinNewYorkduringtherehearsalsofvisitingballet
companiesinthe 1930 s,thescrappybutevocativephotosweresetout
full-bleedonthepageandbuttedtogether,thelandscapeformatsugges-
tiveofacinemaframe.^30 Theeffectissuppleandfluid,movingtheviewer
ceaselesslyfromonespreadtothenext.
WilliamKlein’sinfluentialLife Is Good and Good for You in New York:
Trance Witness Revels( 1956 )hadthesubjectmatterofFrank’sThe Americans
withadesignclosetoBrodovitch’sBallet.^31 Klein’strademarkbustling
andenergeticstreetshotsareprintedinvisceralhighcontrast,wellsuited
totheconsumer-driven,brashandmediatizedNewYork.Hemadeuseof
thenewlyavailablePhotostatcopiertodesignhis‘anti-book’,ashecalled
it.Almosteveryspreadoffersanewlayoutidea,fromteemingsequences
ofsidewalkscenestosharpjuxtapositionsbetweencitizensandthe
advertisingthatsurroundsthem.Despitethetightandhighlyorganized
framing,Kleindeclared:‘onlythesequencingcounts...likeina
movie’.^32 Publishedthesameyear,EdvanderElsken’sLove on the Left
Bankwasevenmoreexplicitlycinematic.VanderElskenwasapioneer
ofdiaristicfirst-persondocumentaryphotographyandlaterfilm.Having
shotthedailylivesofhisbohemianfriendsinParis,heorganizedthe
photosintoafictionalnarrative,heldtogetherbycaptions.Thestructure
76 isasimplelovestory(withasurprisinglyfilmic‘flashback’attheend)
65 An illustrated page from ‘A Hard Look
at the New Hollywood’,Esquiremagazine
(March1959).PhotographsbyRobertFrank.
64 Spread from Alexey Brodovitch’s
Ballet, 1945(J. J. Augustin, New York).
