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 #:
000419
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:
August 29, 2022
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CLOSE UP tions, elle ne lasse pour ainsi dire jamais parce qu'elle est vie. En est-il de meme d'un alignement de mots, si eloquents soient-ils ? Freddy Che valley. SAUCY SUZAXXE An Ufa film. Ellen Richter again, set in a much too over-worked theme, but for all that Ellen Richter, and a witty production. Every^body should see this film when possible if only for the sake of the incomparable Richter, a great and a beautiful artist. The story is trifling and impossible, which after all, in such a film, matters little. Suzanne is an inn-keeper's daughter in a tiny Rumanian inn. Soldiers descend and drink, and there is merriment, and a love-at-sight denouement. The "he" in the denouement is a nobleman. He gallops off when the bugle sounds, into the night. So much in retrospect, for time has elapsed since then, and Suzanne has become a famous Spanish dancer, and this vision of the past has risen because the nobleman, now impoverished, has joined the company as a crack rifleman. Then a very much in-the-rut, back-stage story unfolds. But is it done so very well, or does it simply happen that we are in a good humour ? Xo, it is good. A splendid effect of an elaborately staged 65