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Call#: Van Pelt Library PS310.M65 M37 2005
McCabe, Susan. Cinematic Modernism: Modernist Poetry and Film. Cambridge, UK; New York: Cambridge UP, 2005.
McCabe touches on Pabst passim. Of particular interest is her discussion of "H.D.'s unremitting admiration of Pabst--from Joyless Street to having 'vanquished the border-sphere' in Secrets of a Soul" (162). McCabe suggests that H.D. was attracted to Pabst's "feminine" film style which influenced her own film aesthetic.
belongs to Film and Psychoanalysis project
tagged 1920s POOLfilms borderline bryher closeup film hd modernism movies paulrobeson psychoanalysis race by aliki ...on 04-MAY-06
tagged 1920s POOLfilms borderline bryher closeup film hd modernism movies paulrobeson psychoanalysis race by aliki ...on 04-MAY-06
Call#: Van Pelt Library BF109.F74 A845 2002
Friedman, Susan Stanford. Analyzing Freud: Letters of H.D., Bryher, and Their Circle. New York: New Directions, 2002.
This is a collection of letters circulated by H.D., Bryher and their circle in the 1930s when H.D. was in analysis with Freud. The letters are from the period AFTER H.D. and Bryher worked on the film journal, Close Up but there are references to film in general and to G.W. Pabst in particular. Although there are no letters to or from Pabst, H.D. and Bryher both write to others about him with great enthusiasm.
belongs to Film and Psychoanalysis project
tagged bryher closeup freud hd psychoanalysis by aliki ...on 04-MAY-06
tagged bryher closeup freud hd psychoanalysis by aliki ...on 04-MAY-06
"Writing about Cinema: Close Up 1927-1933" Dissertation Abstracts International [0419-4209] 44.12 (1984). 3522A-. [Request through ILL]
Anne Friedberg argues for the importance of Close Up as an early film journal. The journal's purpose was to "interrogate cinema's formal potential" in order to promote better films and filmmaking (325) . Close up did not present one monolithic view of cinema but rather created a forum for debate about the "stylistic, technological, educational, and psychoanalytic potentials of the cinema" (328). Friedberg also argues that as a periodical, Close Up circulated more easily than the films it covered, thus it "served as a more practical way to transmit theoretical ideas about cinema than did the viewing of films themselves" (325). Friedberg includes chapters on Writing about Cinema; 'The Editorial Three'; POOL books and films; Close Up as international journal and salon; and the focal distance of reading. The very useful "Appendix III: A Chronology of Close Up in Context" is reprinted in the Close Up anthology edited by Donald, Friedberg, and Marcus [see entry in my Film and Psychoanalysis project].
