Close Up (Jul-Nov 1927)

Record Details:

Title:
Close Up
Date:
Jul-Nov 1927
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
000127
Language:
English
Subjects:
motion pictures, Motion pictures -- Periodicals
Collection:
Switzerland, Early Cinema, and Global Cinema
Format:
Periodicals
Contributor:
Library of Congress, MBRS, Moving Image Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
Coordinator:
Media History Digital Library
Description:
As an active film magazine, CLOSE UP lasted only a short time, from 1927 to 1933. Yet the legacy of this English-language periodical, which was published in Switzerland, continues to matter. Edited by Bryher and her husband Kenneth Macpherson, CLOSE UP became THE magazine for energetic debates about the nature of cinema and manifestos imagining new forms of filmmaking and spectatorship. The magazine published articles by filmmakers, such as Sergei Eisenstein, and female literary modernists, such as H.D. and Gertrude Stein. As film scholar Anne Friedberg explains in the anthology CLOSE-UP, 1927-1933: CINEMA & MODERNISM, 'CLOSE UP became the model for a certain type of writing about film -- writing that was theoretically astute, politically incisive, critical of films that were simply 'entertainment.' For six and a half years, CLOSE UP maintained a forum for a broad variety of ideas about the cinema; it never advocated a single direction of development, but rather posed alternatives to existing modes of production, consumption, and film style.' Like Friedberg's own writing, CLOSE UP continues to be essential reading for anyone interested in the history of film and media theory. -- Eric Hoyt, 2014
Date Added:
August 29, 2022
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CLOSE UP Si, comme je le crains vous avez de la peine a calculer une racine carree, faites faire roperation par le moindre professeur de physique : cela sera encore plus avantageux ; on trouve, par Texperience, qu'un quart d'heure de physicien ne coute pas plus cher, en France, qu'un metre de pellicule. J'en viens a quelques difficultes plus sensibles. II vous est impossible de filmer en mem_e temps, sur m.aquette, une chute hbre comme celle d'une pierre, et Tabattement d'une poutre qui touchait la terre par une extremite : les lois de chute ne sont pas les memes dans les deux cas, et la chute des poutres de la maquette paraitrait trop lente. Une autre difficulte nait de la nature de votre appareil. Je suppose que vous deviez faire tornber, en grandeurs reelles, un objet devant un mur de pierre de taille, devant une parol de petits carreaux, ou n'importe quel fond quadrille ou coupe de hgnes horizontales : si vous prenez dix photos de la chute, qu'il y ait quinze divisions sur le fond, et que votre objet tombant ne soit pas plus grand qu'une division, que se produira-t-il ? Le public verra que 5 de ces pierres de taille, ca.rreaux ou lignes horizontales ne lui auront ete cachees a aucun moment par T objet tombant ; Tillusion du mouvemicnt ne se produira pas : il ne verra qu'une suite de positions successives et les hgnes restees intactes entre deux positions Tem^pecheront d'imaginer les positions intermediaires. A cela deux remedes. Faire tomber les objets devant un fond uni. 43