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 #:
000467
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 ing his creation, knew that [in that particular scene there was no rest until it was ended. Everybody else might be falling to sleep, but he perhaps because of it, could go on with a kind of desperate drive, possessing scene and actors alike. Of these fifty eight working days, ten only were in Paris, although the company was there for six weeks. This was purely for reasons of light, and some days only ten minutes v/ork could be done. The task was not made easier by the fact that Pabst had a cosmopolitan company quite a number of whom could not speak German. Edith Jehanne could not speak at all, and Uno Henning could speak but imperfectly. Nobody who has not tried it can appreciate the tremendous difficulty of directing in different languages. But Pabst seems to enjoy difficulties. In Joyless Street, having been already warned that Greta Garbo was almost impossible to photograph, (it was her second film) he promptly engaged her and found that this was indeed true, for the simple reason that she was so frightened he could do nothing with her. At the end of a fortnight he was in despair, and unable to sleep at night, when the idea came to him to turn the handle of the camera more quickly, so that her movements would thus be slowed down. This meant, of course, the rest of the cast had to be rehearsed again in order that their movements would accord. That is to say, they had to jerk their movements so that they would not seem disproportionately slow in comparison with Greta Garbo's now natural movements. This procedure was adopted throughout the entire film. But coming back to Jeanne Ney ; when finished Pabst 25