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 #:
000227
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 strict obedience to the rhythm of the scene. It may be that this is why so many fihns which are otherwise beautiful and moving fail to make any definite impression on the mind. For time cannot be treated with contempt and its satisfying communication through motion pictures is one of these problems which only the most gifted and highly experienced of our directors can hope to solve. Ernest Betts. AN EPIC — PLEASE ! Some time ago a dehcious story was told whenever film people met together. A certain Continental producer came to London bringing with him a print of his last picture. This was a film founded on some of the most important incidents in Beethoven's life. After a great deal of manoeuvring the producer was lucky enough to entice the head of a large organisation to view the film. When he had seen one or two reels, the man of business stopped the operator. He rose ponderously to his feet and said ; " I suppose this Beethoven was some kind of a composer. " That was all ! This tale is hardly relevant to anything that I want to say, 6i