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WRITING ABOUT CINEMA: "CLOSE UP" 1927-1933.

Record Type:	Electronic resources : Monograph/item
Title/Author:	WRITING ABOUT CINEMA: "CLOSE UP" 1927-1933./
Author:	FRIEDBERG, ANNE.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1983,
Description:	372 p.
Notes:	Source: Dissertations Abstracts International, Volume: 44-07, Section: A.
Contained By:	Dissertations Abstracts International44-07A.
Subject:	Motion Pictures. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8405770
ISBN:	9798662312890

WRITING ABOUT CINEMA: "CLOSE UP" 1927-1933.
FRIEDBERG, ANNE.

WRITING ABOUT CINEMA: "CLOSE UP" 1927-1933. - Ann Arbor : ProQuest Dissertations & Theses, 1983 - 372 p.

Source: Dissertations Abstracts International, Volume: 44-07, Section: A.

Thesis (Ph.D.)--New York University, 1983.

This item must not be sold to any third party vendors.

Close Up, a film journal published in the years between 1927 and 1933, was the first English language journal dedicated to the cinema as an "art." It became the vanguard model for a certain type of writing about cinema. Close Up was the site of a range of speculations about film technology (its publication envelops the transition to sound), film style (its critics advocated a variety of national cinemas), and film subject matter (its editors fought against censorship of Soviet films and had a pioneering interest in, what they called, the "Negro viewpoint" film.) An examination of both critical and theoretical writing in the journal illustrates an abiding concern with the experimental film, alternate forms of exhibition made possible by the cine-club and film-society movement, cinema as an educational tool, and serious theoretical writing (including numerous translations of articles by Eisenstein.) Many of the contributors to Close Up were writers who are known for their literary careers and not for their interest in cinema. Close Up published a strong contingent of literary women writing on cinema--H. D., Dorothy Richardson, Gertrude Stein, Marianne Moore. The journal also included pieces by a number of prominent psychoanalysts--Hanns Sachs, Barbara Low and the sexologist Havelock Ellis. POOL, the production company which published Close Up, also sponsored several film projects. H. D. and Kenneth Macpherson, the editor-in-chief, worked on at least three film projects together. The most ambitious, a feature-length film Borderline (1930), with Paul Robeson and H. D., displays the influence of Soviet montage theory, theories which Close Up had a central role in transmitting to English-speaking audiences. Two earlier film projects, Wing Beat (1927) and Foothills (1929), have recently been discovered and reconstructed by the author. Close Up offers exemplary documentation of the critical questions posed to the developing "institution" of the cinema. As this dissertation attempts to demonstrate, writing about cinema is an essential component of the cinematic apparatus, one which demands analysis.

ISBN: 9798662312890Subjects--Topical Terms:

714502
Motion Pictures.

WRITING ABOUT CINEMA: "CLOSE UP" 1927-1933.
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300 $a 372 p.
500 $a Source: Dissertations Abstracts International, Volume: 44-07, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
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506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a Close Up, a film journal published in the years between 1927 and 1933, was the first English language journal dedicated to the cinema as an "art." It became the vanguard model for a certain type of writing about cinema. Close Up was the site of a range of speculations about film technology (its publication envelops the transition to sound), film style (its critics advocated a variety of national cinemas), and film subject matter (its editors fought against censorship of Soviet films and had a pioneering interest in, what they called, the "Negro viewpoint" film.) An examination of both critical and theoretical writing in the journal illustrates an abiding concern with the experimental film, alternate forms of exhibition made possible by the cine-club and film-society movement, cinema as an educational tool, and serious theoretical writing (including numerous translations of articles by Eisenstein.) Many of the contributors to Close Up were writers who are known for their literary careers and not for their interest in cinema. Close Up published a strong contingent of literary women writing on cinema--H. D., Dorothy Richardson, Gertrude Stein, Marianne Moore. The journal also included pieces by a number of prominent psychoanalysts--Hanns Sachs, Barbara Low and the sexologist Havelock Ellis. POOL, the production company which published Close Up, also sponsored several film projects. H. D. and Kenneth Macpherson, the editor-in-chief, worked on at least three film projects together. The most ambitious, a feature-length film Borderline (1930), with Paul Robeson and H. D., displays the influence of Soviet montage theory, theories which Close Up had a central role in transmitting to English-speaking audiences. Two earlier film projects, Wing Beat (1927) and Foothills (1929), have recently been discovered and reconstructed by the author. Close Up offers exemplary documentation of the critical questions posed to the developing "institution" of the cinema. As this dissertation attempts to demonstrate, writing about cinema is an essential component of the cinematic apparatus, one which demands analysis.
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