Close Up (Jul-Nov 1927)

Record Details:

Title:
Close Up
Date:
Jul-Nov 1927
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
000409
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:
August 29, 2022
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CLOSE UP black forms sitting. More dram notes from the organ, lollop founder. Where is that hght ? An empty row of plush extends before its ra^^ arm rests and the bright gleam of a cigarette tray for a fractional space, my left eye perceives cones waving down darkness, palhd elongations shced by updrifting cigarette smoke. Beside my right eye are splashes, faces, I get photographic semblances of lives, peoples' thoughts brush consciousness, I get the different sense of different minds seeing things differently, and two in the row were annoyed because I got across their vision. I was contrite enough, I got their annoj^ance, and a girl and a boy were not looking at the film, I got that though I did not see them, I got that the}' were busy being in love, I got that, I crept along the empty plush row and groped across a shoulder and collided Avith a knee. I was contrite, I said excuse me as I had learnt from the x\mericans, I was rather glad I had said excuse me and not sorry or pawdon. I sat down. I sat down in a Uttle flurry, it is a job getting into a cinema in the dark, I had a lot on my mxind I thought I was near to seeing the way things should be, I mean I had an inkhng. * Something was getting across to me, I had got peoples' impressions, faces, splodges had given me the clues, I was receptive, something was running in to me. I heard organ notes and Greta Garbo would not loom out in that way, she was not that Avay, her eyes were not real when they did that thing below her eyebrows, but the light broken across my e^'es by glass, by the glass of her frame on the stairs the fuschia coloured stairs, that was interesting. Reginald Denny this is, he 55