| Preface | |
| Introduction: Reading Close Up, 1927-1933 | 1 |
| Pt. 1 | Enthusiasms and Execrations | |
| Introduction | 28 |
| As Is (July 1927) | 36 |
| British Solecisms | 41 |
| Emak Bakia | 43 |
| An Interview: Anita Loos | 48 |
| A New Cinema, Magic and the Avant Garde | 50 |
| The French Cinema | 57 |
| The Aframerican Cinema | 65 |
| The Negro Actor and the American Movies | 73 |
| Pt. 2 | From Silence to Sound | |
| Introduction | 79 |
| The Sound Film: A Statement from U.S.S.R. | 83 |
| The Sound Film: Salvation of Cinema | 87 |
| Why 'Talkies' Are Unsound | 89 |
| As Is (October 1929) | 90 |
| Pt. 3 | The Contribution of H.D. | |
| Introduction | 96 |
| The Cinema and the Classics | 105 |
| Conrad Veidt: The Student of Prague | 120 |
| Expiation | 125 |
| Joan of Arc | 130 |
| Russian Films | 134 |
| An Appreciation | 139 |
| Pt. 4 | Continuous Performance: Dorothy Richardson | |
| Introduction | 150 |
| Continuous Performance [unnumbered and untitled] (July 1927) | 160 |
| Dawn's Left Hand, reviewed by W. B. [Bryher] | 209 |
| Pt. 5 | Borderline and the POOL Films | |
| Introduction | 212 |
| Borderline: A POOL Film with Paul Robeson | 221 |
| As Is (November 1930) | 236 |
| Pt. 6 | Cinema and Psychoanalysis | |
| Introduction | 240 |
| Mind-growth or Mind-mechanization? The Cinema in Education | 247 |
| Film Psychology | 250 |
| Freud on the Films | 254 |
| The Film in Its Relation to the Unconscious | 256 |
| Dreams and Films | 260 |
| Kitsch | 262 |
| Pt. 7 | Cinema Culture | |
| Introduction | 270 |
| The Independent Cinema Congress | 274 |
| Russian Cutting | 277 |
| 'This Montage Business' | 278 |
| First Steps Towards a Workers' Film Movement | 281 |
| Films for Children | 283 |
| What Can I Do? | 286 |
| How I Would Start a Film Club | 290 |
| A Note on Household Economy | 294 |
| Towards a Co-operative Cinema: The Work of the Academy, Oxford Street | 296 |
| Modern Witch-trials | 299 |
| Acts under the Acts | 301 |
| Pt. 8 | Fade | |
| What Shall You Do in the War? | 306 |
| App. 1 | The Contents of Close Up, 1927-1933 | 310 |
| App. 2 | Notes on the Contributors and Correspondents | 315 |
| App. 3 | Publishing History and POOL Books | 318 |
| App. 4 | A Chronology of Close Up in Context | 319 |
| Notes | 322 |
| Index | 337 |
