Buch, Englisch, 256 Seiten, Format (B × H): 170 mm x 245 mm, Gewicht: 757 g
Buch, Englisch, 256 Seiten, Format (B × H): 170 mm x 245 mm, Gewicht: 757 g
ISBN: 978-0-691-00463-1
Verlag: PRINCETON UNIV PR
Close 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.
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PrefaceIntroduction: Reading Close Up, 1927-19331Pt. 1Enthusiasms and ExecrationsIntroduction28As Is (July 1927)36British Solecisms41Emak Bakia43An Interview: Anita Loos48A New Cinema, Magic and the Avant Garde50The French Cinema57The Aframerican Cinema65The Negro Actor and the American Movies73Pt. 2From Silence to SoundIntroduction79The Sound Film: A Statement from U.S.S.R.83The Sound Film: Salvation of Cinema87Why 'Talkies' Are Unsound89As Is (October 1929)90Pt. 3The Contribution of H.D.Introduction96The Cinema and the Classics105Conrad Veidt: The Student of Prague120Expiation125Joan of Arc130Russian Films134An Appreciation139Pt. 4Continuous Performance: Dorothy RichardsonIntroduction150Continuous Performance [unnumbered and untitled] (July 1927)160Dawn's Left Hand, reviewed by W. B. [Bryher]209Pt. 5Borderline and the POOL FilmsIntroduction212Borderline: A POOL Film with Paul Robeson221As Is (November 1930)236Pt. 6Cinema and PsychoanalysisIntroduction240Mind-growth or Mind-mechanization? The Cinema in Education247Film Psychology250Freud on the Films254The Film in Its Relation to the Unconscious256Dreams and Films260Kitsch262Pt. 7Cinema CultureIntroduction270The Independent Cinema Congress274Russian Cutting277'This Montage Business'278First Steps Towards a Workers' Film Movement281Films for Children283What Can I Do?286How I Would Start a Film Club290A Note on Household Economy294Towards a Co-operative Cinema: The Work of the Academy, Oxford Street296Modern Witch-trials299Acts under the Acts301Pt. 8FadeWhat Shall You Do in the War?306App. 1The Contents of Close Up, 1927-1933310App. 2Notes on the Contributors and Correspondents315App. 3Publishing History and POOL Books318App. 4A Chronology of Close Up in Context319Notes322Index337
