Close Up (Jul-Nov 1927)

Page scan 00041 from Close Up

Record Details:

Title:
Close Up
Date:
Jul-Nov 1927
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
00041
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 seems to have taken shape, but this time it is Troy by some fantastic readjustment who is about to ruin Helen. Little Miss Garbo (I think of her as little ; I believe from the columns of "gossip" I read dished up in various Hollywood camera news productions that "Greta Garbo is taller than John Gilbert", a thing they seem in some subtle way to have, among many other things, against her) brought into her performance of the professor's elder, little daughterin" Jojdess Street", something of the quality that I can't for the life of me label otherwise than classic. As long as beauty is classic, so long beauty on the screen, presented with candour and true acumen, must take iti» place with the greatest master-pieces of the renaissance and of antiquity. For there is no getting over this astonishing and indubitable fact. Beaut}^ as it has existed in pre-Periclean Athens, in the islands of the Cyclades, in the temple of Karnak, in the frescoes of Simone Martini and the etchings of Albrecht Diirer still does find expression, still does wander veiled as with dawn, still does wait for a renaissance to hail her. Miss Garbo is a symbol, was, I should say, a s^mibol as I saw her in " Joyless Street". She ma}/ again become some such glorified embodiment as flung itself in its youth and its strange, statuesque abandonment across the wretched divan of Madame whatever-was-her-name's evil house. Beauty, the youth and charm, by just a fluke, wasn't tarnished in that atmosphere. The odd thing was that this story of poverty and fervid business speculation and the lady of the world and her lovers and her pearls and the young financier and their meeting in this ill 29