Close Up (Jul-Nov 1927)

Page scan 000456 from Close Up

Record Details:

Title:
Close Up
Date:
Jul-Nov 1927
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
000456
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:
June 20, 2024
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CLOSE UP bear in mind that after Joyless Street, Greta Garbo waited a year in vain for another European contract, and although she desired to stay no offers were forthcoming. My personal fear is that we shall next hear of Henning in HoUjwood. Most felicitous in her part is Edith Jehanne, who played in The Chess Player, Her greatest attribute is a deep sensitiveness, a living the part she plays. In The Chess Player she was blurred by maudlin and inapposite sentimentahty. The director spent his energy in getting her into touching situations, and drivelling over her generally. Here she goes through the film like an arrow, unblurred and definite and admirable. Her power is in her eyes which give the dual impression of defencelessness and courage. Pabst moves her through his film bringing out both these qualities until the power of it is almost stunning. There are moments of exquisite beauty. One of them is after the murder of her father as she and Uno Henning as the young Communist stand transfixed by one another and shattered in so many ways, but still without rehnquishing what has not yet been spoken. Another follows shortly as Jeanne leaves the Crimean tow^n for Paris. With a simple black oilskin, she leaves her house for the boat. Rain is falhng heavily, and the roads are deeply rutted and in large puddles from the traffic and guns which rattle past her. Groups of soldiers stand about, others hurry past through the rain. She swings through the bustle both conscious and unconscious of it. On the outskirts of the town, where the roads are ploughed out of recognition, with huge puddles splashing in the 22