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 #:
000211
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 with thoroughness and insight. Miss Ivow is a Member of the British Psychological Society, Hon. Secretary to the Educational Section of the British Psychological Society, Executive Member of the Committee for Psychological Research and the Author of « An Outline of the FREUDIAN THEORY )), etc. etc. ) The art of the Cinema and its swift development may be ranked as one of the most remarkable features of our latterday civilization. No one can dispute, nor would even wish to, the enormous hold the "Pictures" exert upon the minds and interest of the adult population — whether white, black, or of any intervening shade — the world over ; nor can there be a question as to the new spheres of experience opened up by means of this medium ; nor the high degree to which human skill and creative power have developed in this connection. Whether we appreciate it or not, this fact is overwhelmingly established, that the Cinema-art has made a place for itself as a rival to — it may be a triumphant victor over — all the various other arts which make appeal to mankind, and has even surpassed in strength and extent that appeal to a degree hitherto unknown. So far, so good ; or, if not so good in all eyes, it is a situation to be accepted, studied, and turned to the very best account. Humanity, in all ages, has pursued its pleasure and will continue so to do, in the mass aiming at the greatest amount of satisfaction with the least output of effort, a goal most satisfactorily achieved via the path of the ^'Pictures". If in addition, wider experience, more accurate realization of life in its various manifestations, more read}^ power of contact can be obtained, few will deny the legitimacy 45