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 #:
000209
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 at the heart of his^Frieden" his "Ruhe". Dn hist mein Grab, we remember the song continues and we see now its apphcation. He has betrayed the secret of the under-world to a mortal and the spectre, looking athletic and determined, has his hand on the bell rope. He will ring and the man knows that he must vanish. It is the man now who is completely at the will of the shadow. Du meine Herzen, dit mein Rtihe. Baldwin climbing back to his old poor surroundings knows that he is conquered. Baldwin the apparent man, that is. There is something indomitable left, symbolized by the httle silver cross that his Lady has given him on that first dramatic meeting in the bare fields. He had saved her life (for all there was distorted magic in it) and the Httle cross was his reward. Tapestries, laden baskets, the minuet and ladies with lovely ankles, all that came, was swept aside by the pursuing shadow and lost simply. A vision is not so easily rehnquished, says the tried soul. I have lost everything says Baldwin but not one thing. Raising himself on one elbow along the splintered glass, he reahses that his death has brought him his fulfillment. More than his lad\^ more than his steel blade, himself. Baldwin, dying, clasps a broken edge of triangulated glass to his stained breast. Containing his image simpty. A tiny provincial lake-side cinema. . .a small room, by luck I have got a front seat on the httle balcony at the room's rear. Languages filter into my consciousness. French ? German ? I have been following the sub-titles in these languages. A tired language, an effete language, not French, 43