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 #:
000414
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 seatbacks are polished, light caught one of them, I must look, it must be a job polishing them all, but I expect they are lacquered, now I am beginning to get things again, they have forgotten in the row behind that I came in late, I seem to get the people behind, and not the young woman beside n:e, she is behind barriers, I think something in her is conscious my mind is working, overhead currents, things do go on in the air, she is a reposed young person, but I beheve she has a problem in her life that uses up energy, there is barrier between her and reception, I don't get her, but I get the people behind, and I get a sense of people's attention directed on the screen, but more than that, the feeling of the theatre, there are deft arrangements in this theatre, and there are girls with torches and fuschia carpets, and a slope to the floor, it all means something, it is restful, there has not been anything much here but peoples' entertainment, yow have a sense of obliteration, you are non-existent, you can sit still and your mind works away, works awa3\ I was trying to get that corridor, and the figure hurr}nng through, then starkly across the long room, then turning down a narrower and darker corridor, finally into a room, I see that, no L\'a de Putti, I didn't see it the wa\' you are coming down those stairs, I see the value of stairs, I know you create form and geometry, \'ou get m)' mind to seeing other things, I am not seeing Lj^a de Putti nor the others ^dth her, tYiey move, there are probablj' points here and there, but regroupings mean things, you cross a room slowlj', well I want to make this figure cross a room slowl}^ your close up has no meaning-, 60