Close Up (Mar-Dec 1933)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

CLOSE UP 15 working out of montage plans and sheets for the particular parts allotted to them, the students will be really cured of creative vagueness. Their work will be controlled from beginning to end, and at the same time will furnish an effectual indication as to how far they are capable of giving practical expression to a clearly defined general conception. At this stage it will not yet be a case of the student's individual conception — but of a conception which is arrived at collectively and consequently serves the more effectually as a rigorous lesson in self-discipline. This self-discipline is still more necessary when the conception becomes personal and individual. But before reaching this last stage, this ultimate frontier, which already borders on after-school production, the students will have to run the gauntlet of long rows of living or dead connoisseurs in their several domains. At a certain stage this will be a long discussion about the type, figure and character of the principal protagonist. The shades of Balzac, Gogol, Dostoyevsky or Ben Jonson will be evoked. The question will arise as to the embodiment of this particular type, figure and character. Here we rely on the autobiographical confessions of Kachalov, Batalov, Max Strauch, etc. Having threaded the mazes of plot-construction and having studied the Elizabethan dramatists with Aksenov, we listen to Dumas-Pere and Victor The Deserter," Pudovkins latest sound-film, in zvhich it if said are amazing technical innovations. " Le Deserteur," dernier film sonore de Pudovkin, presente, dit-on, a" etonnantes innovations techniques. Der Deserteur," Pudovkins letzter Tonfilm, in zcelchem angeblich iiberraschende technische Neuerungen veruendet wurden.