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 #:
000451
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 DIE LIEBE DER JEANNE NEY (The Love of Jeanne Ney) AND ITS MAKING An UFA filmd by Pabst Joyless Street became famous over a slow, too-drawn-out period of years. In spite of attention, admiration, demand, it did seem that everything was done to try to keep it from being a success. Now after a few years, in spite of those who tried to stop it, it has been acclaimed. Now comes Die Liebe Der Jeanne Ney from the same director, and with it the question, what is going to be done about this fihn ? Here is a work of art, quite complete and quite individual, with technical perfection and astonishing beauty, and it is most doubtful if twenty per cent of the real cinema enthusiasts will have the chance to see it. Or if they do see it, in what state of mutilation and emasculation wiU it be ? The whole fihn situation is in crying need of reform, for conditions are made incredibly difficult in every instance where a film stands apart as a work of art or beauty, and before anything can have real weight behind it, there must be support from the public ; the public must demand and go on demanding the good films ; to accept them is not enough. To see them if they come your way is not enough, simply because unless it is reahsed that you and you are demanding 17