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 #:
000474
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 fly, but their flight will be laborious, maladroit and pathetic. All which is obvious ; the obvious, however, is often useful. (Copyright in the United States of America). Arnold Bennett. LA FACE HUMAINE A L'ECRAN IV YE^X, XEZ. BOUCHE. Jusqu'a present on a considere que la photogenie des yeux dependait toute entiere du coefficient personnel et des aptitudes naturelles du sujet : cela echapperait done tout a fait a la technique. Ce qu'il y a de vrai dans cette idee, c'est que les mouvenients des yeux, pupilles et prunelles, sont des reactions impossibles a commander et par suite tres difficiles a eduquer. Cependant on a pu remarquer que Tadaptation forcee de Toeil a des reactions lentes, telles que par exemple Thabitude de regarder au microscope, detruisait la photogenie de Toeil. II n'est done pas ridicule de penser que Tadaptation de Toeil a des reactions vives, telle que pourrait la procurer par exemple Thabitude du tir aux pigeons, agirait 32