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 #:
000476
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 Lillian Gish, c'est de faire contraster dans ses yeux des lumieres et des ombres fort di verses, ce qui produisait un bel effet d'irresolution. Par malheur ces effets si simples a produire et si puissants exigent Timimobilite de la tete ; c'est dire que leur emploi est fort limite. On peut aussi essayer de modifier Tenfoncement des yeux dans la tete au moyen des bains d'eau chaude ou froide. Ces massages, auxquels I'oeil est tres sensible, produisent deux effets successifs et contraires : Teau froide degonfie Toeil d'abord pour le regonfler ensuite, Teau chaude le gonfle d'abord et le rougit pour le soulager ensuite. Comme il faudrait appliquer le maquillage par dessus ce bain d'yeux, seules les secondes reactions sont pratiquement utilisables. Les contrastes de noir et de blanc, les maquillages presque geometriques, ont donne aux ecoles allemandes et russes quelques effets saisissants, mais dont I'inconvenient est evident : si c'est le premier aspect du personnage qui saisit, par la suite le jeu de ce personnage sera necessairement prive de toute souplesse. II semble plus rationnel de se contenter de souligner les traits naturels. L'epilement des sourcils est un moyen presque mecanique d'indiquer une elegance equivoque. Noircir le tour des yeux pour les agrandir est un artifice vieux comme le monde. Noircir le dessous de Tarcade sourcillere pour renforcer le dessous de Toeil est un procede qui a donne a Barrymore Texpression energique dont il a su limiter Temploi. II faut eviter, malgre tous ceux qui veulent faire du cinema une symphonic en noir et blanc, d'employer ces noirs en opposition avec un platrage epais de la figure : 34