Close Up (Jul-Nov 1927)

Page scan 000139 from Close Up

Record Details:

Title:
Close Up
Date:
Jul-Nov 1927
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
000139
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:
June 20, 2024
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CLOSE UP passion, les interpretes n'avaient guere le moyen de se metamorphoser. Et puis, la parfaite ordonnance du discours, Tharmonie du verbe, la regularite des vers, la logique et la composition de Tensemble, aussi bien que Tanalyse a tout prix subtile des details, si elles etudiaient et peignaient Thomme, n'en accomplissaient pas moins sa transsubstantiation. Ce qui grouillait de plus informe au fond des consciences etait discute, represente sur un plan de hautaine precision. L'art qui ne voulait rien ignorer, par culte de la grandeur et gout de la politesse, en venait a cet ideal classique dont la France a ete si nettement marquee, que Gertrude Stein pouvait dire avec juste raison que les Francais, meme ceux d'aujourd'hui et, en depit de la litterature volontairement confessionnelle, n'ont pas le sens de Tintimite. Defaut d'ailleurs commun a toute la civilisation m.editerraneenne. Les tragediens grecs, s'ils acceptaient que la douleur ou le desir tordit leurs figures, voulaient que ce fut une fois pour toutes et, afin que plus surement durat leur expression, ils la figeaient dans des masques. Ainsi se creaient des types d'autant moins faciles a oublier qu'ils ne changeaient jamais. Dangereux heritage echu a notre xvii® siecle, qui d'autre part, em_erveille par le Je pense, done je snis de Descartes, ne dcute jamais de T'unite des individus et mais n'en reve pas moins de decouvrir une notion generale et precise de Thomme. Et cependant un Jean Racine, a la fin de sa vie, ecrit : Je sens deux hommes en mGi. Touchant et sublime aveu d'un etre dont la complexity n'a pu etre endiguee. Ses contemporains furent injustes parce que sous Tapparente surface unie, 55