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PREFACE<br />

Anne Friedberg in the United States were independently planning anthologies, the<br />

pooling of resources and ideas, mostly through the media of fax and e-mail, proved - for<br />

us at least - both pleasurable and productive. We would like to thank a number of friends<br />

and colleagues for their comments, suggestions and s<strong>up</strong>port, especially Kevin Brownlow,<br />

Ian Christie, Miriam Hansen, Laura Mulvey, Michael OTray and Jim Pines. Jane<br />

Greenwood at Cassell and Deborah Malmud at Princeton have been enthusiastic and (as<br />

far as can be reasonably expected) patient editors; we must also thank Sandra Margolies,<br />

our Cassell house editor. Above all, we should acknowledge the generous encouragement<br />

given to research in this field by H.D.'s daughter, Perdita Schaeffner.<br />

We respectfully dedicate the book to her.<br />

September 1997<br />

James Donald<br />

Anne Friedberg<br />

Laura Marcus<br />

Note on the treatment of texts<br />

The production of Close Up is a great testament to the enthusiasm, energy and efficiency<br />

of its editors, Bryher in particular, although style and presentation at times appear<br />

idiosyncratic to the late-twentieth-century eye. We have reproduced original spelling and<br />

punctuation, despite inconsistencies, but have corrected obvious typographical errors.<br />

Punctuation has been left as it stands, unless it makes sentences difficult to read and<br />

interpret. We have added modern or more familiar spellings of well-known figures in<br />

square brackets (e.g. Tudowkin [Pudovkin]'). The only consistent changes we have made<br />

are in design points, such as the removing of extraneous spaces around marks, and we<br />

have used single quotation marks for ease of reading.

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