Close Up (Jul-Dec 1929)

Page scan 00047 from Close Up

Record Details:

Title:
Close Up
Date:
Jul-Dec 1929
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
00047
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 tragedies, talkies and monuments. What of Les Deux Timides, Les Xouveaux Messieurs? It flashes up that Epstein's lovely Finis Terrae is showing in the tiniest theatre in Paris ; that Living Image was released over here without anybody paying the slightest attention to it ; that somebody ought to tell Mosjoukine not to play in any more pictures like The Secret Courier; that the Film Society has a lot to live up to in the coming season. In fine; that, that, THAT ! OSWELL BlAKESTON. CAMERA PROBLEMS By Carl Hoffman (Photographer of the well-known Ufa-Superfilms Nibelunge7i, Faicsty etc.) The problems of the camera are equally the problems of the entire motion picture. Generally speaking the work of the camera carries out the pictorial expression of the dramatist's thoughts. Film is picture. The picture appeals to the eye. To use a somewhat daring comparison, it could be said, that the camera must interpret to the eye the words of the dramatist. 29