Love on the Left BankwasromanticnostalgiaforanearlierParis.
Frank’sThe AmericanswasmarkedbyBeatcultureweariness.Klein’s
New Yorkwascaughtbetweenattractionanddisgustwithmassculture,
closetotheambivalenceofPopArt.Allthreewereexpressionsofpost-
warcounter-cultureattheonsetofitssuffocationbyconsumerism.
Allthreephotographersturnedtofilmmakingbuttookupthesame
concerns,makingmovingequivalentsoftheirphotographs.Stopa
WilliamKleinfilmanywhere,notedhisfriendthephotographer-film-
makerChrisMarker,andyouwillsee‘aKleinphotographwiththe
sameapparentdisorder,thesameglutofinformation,gesturesand
lookspointinginalldirections,andyetatthesametimegovernedby
anorganized,rigorousperspective’.^34
EvenmoredisenchantedwasBye Bye Photography( 1972 )bythe
JapanesephotographerDaidoMoriyama,whichpushedphotographic
sequencingtobreakingpoint.Alongwithseveralothers(including
ShomeiTomatsu,EikohHosoeandTakumaNakahira),Moriyamarailed
equallyagainstthenarrowconventionsofphotographicgoodtasteand
therepressivesocialorderoflate 1960 sJapan.Bye Bye Photographyisa
bleakandrelentlessonslaughtofdissoluteframes,manyappearingto 79
67 Spread from Ed van der Elsken,Love on
the Left Bank(London, 1956).