| Introduction | |
| 1 | Modernism |
| 2 | Modernism: Portraits |
| Photographers | |
| 3 | Laszlo Moholy-Nagy: Viewpoints |
| 4 | Florence Henri: Compositions |
| 5 | Piet Zwart: 12 Fotografien (Portfolio) |
| 6 | Germaine Krull: Métal |
| 7 | Edward Weston: Vegetables |
| 8 | Edward Weston: Shells |
| 9 | Charles Sheeler: Criss-Crossed Conveyors, River Rouge Plant, Ford Motor Company |
| 10 | E.O. Hoppé: Amerika |
| 11 | Albert Renger-Patzsch: Die Welt ist schön |
| 12 | John Vanderpant: Canadian Modernism |
| Cinema and experimental photography | |
| 13 | Sergei Eisenstein: Strike (1925) |
| 14 | Dziga Vertov:The Man with a Movie Camera (1929) |
| Case studies | |
| 15 | USA: New Mexico: Taos |
| 16 | France: Marseille: The Transporter Bridge (Pont Transbordeur) |
| Introduction | |
| 1 | Modernism |
| 2 | Modernism: Portraits |
| Photographers | |
| 3 | Laszlo Moholy-Nagy: Viewpoints |
| 4 | Florence Henri: Compositions |
| 5 | Piet Zwart: 12 Fotografien (Portfolio) |
| 6 | Germaine Krull: Métal |
| 7 | Edward Weston: Vegetables |
| 8 | Edward Weston: Shells |
| 9 | Charles Sheeler: Criss-Crossed Conveyors, River Rouge Plant, Ford Motor Company |
| 10 | E.O. Hoppé: Amerika |
| 11 | Albert Renger-Patzsch: Die Welt ist schön |
| 12 | John Vanderpant: Canadian Modernism |
| Cinema and experimental photography | |
| 13 | Sergei Eisenstein: Strike (1925) |
| 14 | Dziga Vertov:The Man with a Movie Camera (1929) |
| Case studies | |
| 15 | USA: New Mexico: Taos |
| 16 | France: Marseille: The Transporter Bridge (Pont Transbordeur) |