By James Donald, Anne Friedberg, Laura Marcus
Among 1927 and 1933, the magazine "Close Up" championed a ecu avant-garde in film-making. This quantity republishes articles from the magazine, with an advent and a remark at the lives of, and intricate relationships among, its writers and editors.
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Extra resources for Close Up 1927-1933: Cinema And Modernism
The article by the American Marxist critic Harry A. Potamkin makes an interesting comparison with his defence of French cinema, for that too works with the idea that a native national intelligence should be the catalyst for a distinctively national film style. In contrast, the article by Geraldyn Dismond ('well-known American Negro writer') argues a less essentialist case about film representation, about cinema institutions, and about their possible, limited social consequences. 36 CLOSE UP Vol.
Instead we should have opened with a sailors' bar, with plenty of females in sex-appeal promoting dresses, and a cheerful song. The doctor would be little changed, but he would have had sinister designs upon the heroine who would of course, have survived the perils of the underworld because of her love for an old father-mothergrandparent or a young brother-sister-orphan-child at choice, helped by the patent-enamel body paint into which American stars are dipped. The leader of the mutineers would watch the doctor's advances, laugh, remember in a cut-back his old mother, knock the doctor out, pat the girl out of his way and sit down and drink.
1 It is true that Close Up tended to see art in terms of an autonomous aesthetic sphere, and the aesthetic potential of film as something to be sought in what is specific to the medium, or, perhaps more accurately, what is specific to the experience of the medium. Certainly, the magazine wanted a cinema quite distinct from the theatrical and literary traditions which were becoming increasingly dominant in entertainment films - especially with the arrival of the talkies. As Bryher's slightly "breathless interview with Anita Loos suggests, however, Close Up was not wholly anti-populist, nor unwaveringly antagonistic towards what Hollywood might be.