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 #:
000129
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 une planche droite et secouez-la verticalement... Mais la contre-ondulation, les retours d'onde dans un bassin ferme, vous ne les eviterez jamais. Mve done la nature. Jean Prevost. PRECIS OF THE POINTS RAISED IX M. PREVOST^S LETTRE }vIonsieur Prevost points out that the difficulties artists once encountered (he adds that to-daj' they are freed from this servitude !) in matters of anatoniical science, etc. now devolve .even more acutely on the heads of film-producers. Artists having lost their pubhc, film-producers, on the contrary, are, if anything, overwhelmed by it. And this public, without scientific knowledge, insists on an effect of complete reality. For instance, if a thing is to fall, it has to fall in a certain way ; they could not describe it but know if it is rightly done. He gives useful information in this respect, and in the using of models. Bodies, he sa}.'s, fall at difterent rates of time on account of the resistance of air, hence difterent rates of photography will be needed. To obtain successful results a general formula has been devised, relating height to time. Let t represent time, e the distance of the fall, and given that 45