Close Up, 1927-1933 : Cinema and Modernism Book

Preface
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