Close Up (Jul-Nov 1927)

Page scan 000478 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 #:
000478
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 froncement abaisse legerement le bout du nez, donne au nez tout entier une expression plus rigide qui a elle seule, et bien mieux que les froncements de sourcils, peut donner Fidee d'une energie calme et majestueuse. C'est ici le moment de parler des lunettes. Elles tendent presque toujours, pour le spectateur, a boucher Toeil, ce qui produit, selon Texpression du reste du visage, tantot un effet de betise, et tantot un effet de mystere. On peut changer, soit par les mouvements de la lumiere, soit par les mouvements de la tete de Tacteur, Tangle selon lequel la lumiere frappe les lunettes : de Tangle de reflexion totale qui empeche absolument de voir les yeux et offre a leur place deux reflets glaces, on peut passer a une arrivee perpendiculaire de la lumiere, qui montre les yeux comme si les lunettes etaient absentes : effet qui serait fort utile pour faire attendre, puis reveler par les yeux seuls un personnage jusqu'alors mysterieux. On peut naturellement varier ces effets soit avec un monocle, soit avec des lunettes a verres en demi-cercle, soit encore en faisant apercevoir les yeux par dessous les lunettes. Par ailleurs, en faisant monter ou descendre les lunettes sur le nez, on obtient des effets d'un comique facile, sur lequel il est inutile d'insister. On peut aussi a volonte grossir le nez en y mettant deux tubes faits de plumes d'oiseaux qui ne genent pas la respiration. Mais cet effet aussi est bien grossier. Enfin toutes les coquettes savaient, meme avant Tinvention du cinema, qu'en employant une poudre plus foncee pour le nez que pour la figure on Tagrandit, et qu'avec une poudre plus pale, on le diminue. 36