Close Up (Mar-Dec 1933)

Record Details:

Title:
Close Up
Date:
Mar-Dec 1933
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
00019
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:
November 07, 2023
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CLOSE UP 11 Not without reason is this character surmised to be an idealized selfportrait. For Dumas himself, equally with the rest, wallowed voluptuously in the muddy sea of dubious wealth engendered by questionable speculations in the reign of " King Bourgeois." " — A million? That is exactly what I usually carry with me in my pocket." This remark symbolizes in a unique degree the unattainable ideal both of the " fat nigger " himself, who squandered money recklessly and was literary potentate of the newspaper, feuilleton and dramatic world of the Paris of that day, and also< of the vast hordes of greedy sharpers and adventurers with which Paris was swarming. However, if we are fully to realize how these social, economic and ideological premises determine everv slightest variation of form and how indissolubly they are connected, we must trace out a complete creative cycle independently and conscientiously from start to finish. Krutchkov, of the Moscow Theatre of Young Workers, in " Outskirts." Krutchkov, du Theatre desjeunes Travailleurs de Moscou, dans "Outskirts" (Frontieres) . Krutschkov vom Theater der jungen Arbeiter in Moskau, in "Peripherie."