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 #:
000130
Language:
English
Subjects:
motion pictures, Motion pictures -- Periodicals
Collection:
Global Cinema, Switzerland, and Early 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 the acceleration g is at the rate of 9 metres, 81., you can obtain the time of the faU as in the equation given. It is impossible, he states, to simultaneously photograph the falling say of a stone and a beam ; the lav\'s of faUing are different in each case, and if the stone is photographed the fall of the beam will appear too slow. A difficulty is presented regarding the falling of objects before a background composed of squares or horizontal lines. Example. Ten photographs are turned during the fall. The background has fifteen divisions. If each of these is equal in size to the falling object five of these divisions will thus have not been covered by the falling object. Result, no illusion of movement. What happens is a succession of positions, the lines left uncovered between each successive position will prevent the illusion of intermediate positions. Suggested remedies are a plain background or a cornet fall, i. e. the attachment of some floating substance to the falling object. The divisions being thu.s partly covered, the illusion is created. THE REAL DANGER OF THE CINEMA When critics, after years of earnest opposition, yielded so far as to acknowledge the cinematograph as an infant art, they found consolation in the idea that, by following the same 46