Camera Works
In Chapter Three, North considers "Close Up", the European film magazine published in Switzerland "with the more-or-less constant assistance of H.D." from 1927 to 1933. Noting the "considerable convergence of the literary world and the no longer quite so new medium of the movies" by 1927, North furthers his examination of international modernism's struggle with sound by pursuing the introduction of sound technology into silent cinema as a revealing moment in the history of globalization. Hollywood's attempts to cope with "the foreign problem", or that 9/10 of the world's population in 1927 did not speak English, often by shooting films in five different languages, are contrasted with utopian strategies advanced by the avant-garde that attempted to bring about an international film culture of the future based on global multilingualism or even Esperanto. In Chapter Two, North argued that sound came just as critics were raising silent film to the status of art, and here he shows how these two instances of perceived contamination, sound as intruder into the autonomous visuality of film and sound as divisive force in the international medium of the eye, often inflected or contradicted one another in the pages of the magazine. North concludes by stating: ""Close Up" registers an awareness in modernism of the strangeness opened up within ordinary experience by the new media, which, instead of establishing a new universal language, had exposed the inherent unfamiliarity of languages long in use."
Pál Jávor (actor)
The opportunity to appear in movies first came in 1929, when he starred in "Csak egy kislány van a világon", what was to be the last Hungarian silent film. Ironically, this was also the first one to feature voice, as technicians got hold of the technology by the last days of shooting. This allowed Jávor to sing a song in one of the scenes, which, combined with the charm and temperament that became his later trademark, secured him firm employment in the country's waking film industry. He took the lead role in the first Hungarian movie with sound, "Kék Bálvány", and a smaller one in the second, "Hyppolit, a lakáj", which became the first real hit among the public. Jávor quickly became an idol of the 30s, appearing in numerous movies, but also remained popular on stage. The sudden fame weighed heavily on the young actor, leading to him returning to alcohol, and to frequent clashes with co-workers and the then-powerful newspaper owners, resulting in numerous scandals. His life was eased when he met and, in 1934, married the Jewish Olga Landesmann, a widow with two children, who provided him with a welcoming home and family.