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 #:
000371
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 347 The Kiyomizu Temple photographed for "Japan in Four Seasons," but not included in the final print of the film. Photo du Temple Kiyomizu qui n'a pas ete retenue dans la version achevee du film: " Le jfapon en quatre saisons." SYMPHONIC CINEMA By Clifford Howard. " The talkies " as an appellation is at once expressive and admissive. Out of the multifold possibilities latent in the application of acoustics to the cinema the only achievement as yet worthy of acceptance is talk. All other forms of sonification have so far amounted to little more than primitive " sound effects " and the mere transference to the screen of the quondam kino orchestra with its more or less questionable relevancy as an adjunct to the show. In the main such limitation of the use of photophony has been due, not to technical or physical lack, but simply to the absorbing interest of producers and public alike in the salient feature of this latest development, the novelty of cinematic speech. The existing situation is analogous to that of the early stage of motion pictures themselves, when the potentialities offered by the art of photography and of drama were uninterestedly ignored in the wonderment inspired bv the