Close Up (Mar-Dec 1933)

Page scan 00020 from Close Up

Record Details:

Title:
Close Up
Date:
Mar-Dec 1933
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
00020
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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12 CLOSE UP From " The Golden Mountain " a new film by Ermler and Yutkevitch. " La montagne d'or," nouveau film de Ermler et Yutkevitch. Aus " Der goldene Berg." Ein neuer Film von Ermler und Yutkevitsch. Of course, the most interesting of all would be to get hold of another Goethe or Gogol and set him to compose before the auditorium a 3rd part of " Faust " or a new second volume of " Dead Souls." But we have not even a living Alexandre Dumas at our disposal. Therefore we transform the students of the third course of GIK into . . . a collective regisseur and film-constructor. The director is merely a primus inter pares, the first among equals. # * # The collective — and, later on, each individual separately — has to work its way through all the difficulties and torments of creative work, through the whole process of creative composition, from the first faint, glimmeringhint of the theme down to the decision whether the buttons on the jacket of the most insignificant performer are suitable for filming purposes. The task of the director is merely, by a dexterous and timely shove, to propel the collective in the direction of legitimate and fruitful difficulties