Friedberg introduces her article with a look at the twin birth of psychoanalysis and cinema and argues that "Freud's theory of the unconscious. . .was, from the start, a theory in search of an apparatus. Yet the cinema, an apparatus which could reproduce and project specular images, from its beginnings, an apparatus in search of a theory" (41). Drawing on Chodorkoff and Baxter, Friedberg offers a reading of the history of the making of Secrets of the Soul, including Freud's rejection of the project. She calls the film the first 'that directly tried to represent psychoanalytic descriptions of the etiology of a phobia and the method of psychoanalytic treatment" (45). Friedberg points to the various ironic name puns having to do with Freud's lack of involvment in the film: that Pabst, the director of Joyless Street--Die FREUDlose Gasse (my emphasis) was asked to direct a film "mit Freud," when Freud refused to be involved; and that the actor who plays the pshychoanalyst in Secrets, Pavel Pavlov, shares his name with "Freud's mightiest theoretical opponent, the physiologist Ivan Pavlov" (46). Friedman goes on to describe and analyze the film, which she notes is separated into five parts: Pre-Dream; The Dream; Post-Dream; Analysis; and Cure. She notes that the happy ending of the film works as a kind of advertisement for psychoanalysis, arguing that Abraham and Sachs in consulting on the film, intented to "extol its curative virtues" (51).

Donald, James, Anne Friedberg, and Laura Marcus, eds.  Close Up 1927-1933: Cinema and Modernism.  Princeton, Princeton UP, 1998.

Offers a very generous selection of articles printed in Close Up from 1927 to 1933. The anthology is organized into eight parts:

Part 1, "Enthusiasms and Execrations" on the potentials of various national and independent cinemas (introduced by James Donald);

Part 2, "From Silence to Sound" on the controversy of the coming of sound, which the editors of Close Up generally opposed (also introduced by James Donald);

Part 3, "The Contribution of HD" which reprints many of HD's theoretical essays and reviews of films (introduced by Laura Marcus);

Part 4, "Continuous Performance: Dorothy Richardson" which reprints many pieces from Richardson's "Coninuous Performance" column (introduced by Laura Marcus);

Part 5, "Borderline and the POOL films" which includes HD's pamphlet on Borderline, the 1931 film in which she starred with Paul and Eslanda Robeson (introduced by Anne Friedberg);

Part 6. "Cinema and Psychoanalysis" which includes a variety of film critics and psychoanalysts on the relationship between film and psychology/psychoanalysis (introduced by Laura Marcus).

Part 7, "Cinema Culture" on the political and educational potential of film (introduced by James Donald and Anne Friedberg);

Part 8, "Fade" marks Close Ups ending and the coming of World War II.

Appendices include the full table of contents of all issues of Close Up; contributors notes; Publishng history including POOL books; and Anne Friedberg's Chronology of Close Up in Context (reprinted from her dissertation (NYU 1983)).