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Product Identifiers
PublisherPrinceton University Press
ISBN-100691004633
ISBN-139780691004631
eBay Product ID (ePID)627160
Product Key Features
Number of Pages352 Pages
Publication NameClose Up 1927-1933 : Cinema and Modernism
LanguageEnglish
Publication Year1999
SubjectFilm / General, Film / History & Criticism
TypeTextbook
AuthorAnne Friedberg
Subject AreaPerforming Arts
FormatTrade Paperback
Dimensions
Item Height0.9 in
Item Weight17 Oz
Item Length9 in
Item Width6 in
Additional Product Features
Intended AudienceCollege Audience
LCCN98-024952
Reviews"During its brief life Close Up attracted exceptional contributors and much admiration. . . . This book is overdue."-- The New Republic, During its brief life Close Up attracted exceptional contributors and much admiration. . . . This book is overdue., During its brief life Close Up attracted exceptional contributors and much admiration. . . . This book is overdue. -- The New Republic, During its brief lifeClose Upattracted exceptional contributors and much admiration. . . . This book is overdue. -- The New Republic, During its brief lifeClose Upattracted exceptional contributors and much admiration. . . . This book is overdue., "During its brief life Close Up attracted exceptional contributors and much admiration. . . . This book is overdue." -- The New Republic
Dewey Decimal791.43
Table Of ContentPreface Introduction: Reading Close Up, 1927-1933 1 Pt. 1 Enthusiasms and Execrations Introduction 28 As Is (July 1927) 36 British Solecisms 41 Emak Bakia 43 An Interview: Anita Loos 48 A New Cinema, Magic and the Avant Garde 50 The French Cinema 57 The Aframerican Cinema 65 The Negro Actor and the American Movies 73 Pt. 2 From Silence to Sound Introduction 79 The Sound Film: A Statement from U.S.S.R. 83 The Sound Film: Salvation of Cinema 87 Why 'Talkies' Are Unsound 89 As Is (October 1929) 90 Pt. 3 The Contribution of H.D. Introduction 96 The Cinema and the Classics 105 Conrad Veidt: The Student of Prague 120 Expiation 125 Joan of Arc 130 Russian Films 134 An Appreciation 139 Pt. 4 Continuous Performance: Dorothy Richardson Introduction 150 Continuous Performance [unnumbered and untitled] (July 1927) 160 Dawn's Left Hand, reviewed by W. B. [Bryher] 209 Pt. 5 Borderline and the POOL Films Introduction 212 Borderline: A POOL Film with Paul Robeson 221 As Is (November 1930) 236 Pt. 6 Cinema and Psychoanalysis Introduction 240 Mind-growth or Mind-mechanization? The Cinema in Education 247 Film Psychology 250 Freud on the Films 254 The Film in Its Relation to the Unconscious 256 Dreams and Films 260 Kitsch 262 Pt. 7 Cinema Culture Introduction 270 The Independent Cinema Congress 274 Russian Cutting 277 'This Montage Business' 278 First Steps Towards a Workers' Film Movement 281 Films for Children 283 What Can I Do? 286 How I Would Start a Film Club 290 A Note on Household Economy 294 Towards a Co-operative Cinema: The Work of the Academy, Oxford Street 296 Modern Witch-trials 299 Acts under the Acts 301 Pt. 8 Fade What Shall You Do in the War? 306 App. 1 The Contents of Close Up, 1927-1933 310 App. 2 Notes on the Contributors and Correspondents 315 App. 3 Publishing History and POOL Books 318 App. 4 A Chronology of Close Up in Context 319 Notes 322 Index 337
SynopsisClose Up was the first English-language journal of film theory. Published between 1927 and 1933, it billed itself as "the only magazine devoted to film as an art," promising readers "theory and analysis: no gossip." The journal was edited by the writer and filmmaker Kenneth Macpherson, the novelist Winifred Bryher, and the poet H. D., and it attracted contributions from such major figures as Dorothy Richardson, Sergei Eisenstein, and Man Ray. This anthology presents some of the liveliest and most important articles from the publication's short but influential history. The writing in Close Up was theoretically astute, politically incisive, open to emerging ideas from psychoanalysis, passionately committed to "pure cinema," and deeply critical of Hollywood and its European imitators. The articles collected here cover such subjects as women and film, "The Negro in Cinema," Russian and working-class cinema, and developments in film technology, including the much debated addition of sound. The contributors are a cosmopolitan cast, reflecting the journal's commitment to internationalism; Close Up was published from Switzerland, printed in England and France, and distributed in Paris, Berlin, London, New York, and Los Angeles. The editors of this volume present a substantial introduction and commentaries on the articles that set Close Up in historical and intellectual context. This is crucial reading for anyone interested in the origins of film theory and the relationship between cinema and modernism.
LC Classification NumberPN1993.5.A1C63 1999
