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 #:
000410
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 is funn\^ I am getting impressions well this looks like the end, I have arrived at the end, apparently ever3'thing is getting right. I Vv^as saying getting right, it is the end it is Reginald Denny. I am settling in. I am beginning to get things. Yes this is the end, I shall miove toward the centre when it is over if there is a seat. The j^oung girl and the light, her small torch skidding over my torn ticket, this way please. I am beginning to settle in Three climax chords, and the organ prolongs. . . Curtains slide together, I can hear the suave mechanism, the End waves and bounces across them, vague hghts seep, one sees architecture, one sees gold, and backs, one satin back in front of me, a grej^ skirt (she is not going to move) I had collided with her, grey skirt and a bag of black watered silk, a soft gloveless hand clenched on the tortoiseshell clasp, a black satin back, brown suit, Jew's hair, an empt}' seat, the row goes on with two women then a woman and a man and a young woman, light goes higher, ruddy, gold ornament, flowers. .... .Well, I Vv'ill get at something, here is the orchestra the stage. . . now that is wrong, they are going to do \'audeviUe, now that is all wrong. Xow I am most annoyed, that is just what tYiey would go and do, what is the idea am^^va}', they are seeing it all wrong, we don't want this sort of thing, yes I know, here they are, one two three. . .a whole procession, yes dancers, and a bad show, and vaude\iUe is all wrong in the movies, the}' shouldn't do that, one sees why they do 56