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 #:
000479
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 Quant a la bouche, elle ne peut presque jamais agir seule. II faut considerer qu'elle est le point d'arrivee de toutes les emotions tristes, qui sont pour ainsi dire centripetes, et le point de depart d'oii s'irradient au contraire toutes les emotions gaies, qui sont centrifuges. C'est un effet fort simple, et toutes les nuances en sont fournies par la plus ou moins grande vitesse de cette propagation. Cliaplin, par d'imperceptibles mouvements de sa bouche presque close sait faire de ses levres, surtout dans la R^iee vers VOr, comme un rivage mobile ou viennent aboutir les ondulations de la tristesse, presque invisibles a leur pa^ssage sur les joues, et visibles a cette fin seulement. Toutes les autres deformations de la bouche resultent des mouvements des joues, lorsqu'elles sont vues de face. Jusqu'a present on n'a bien reussi que les mouvements purement horizontaux, rire, sourire, colere, ou les mouvements verticaux, comme la moue. La moue, en elevant la levre superieure vers les ouvertures du nez, est la mimique qui se refuse a Todorat. Elle est difficile a employer, parce qu'excessive elle est banale, et faible elle risque d'etre mal comprise. Pour la distinguer de la parole ou du baiser il faut, au lieu de mettre la bouche en O pour faire la moue, lui garder une certaine largeur, et faire remonter, en meme temps que la levre superieure, la pointe du nez. On a egalement mal compris les effets qui pouvaient se tirer de la bouche vue de profil. Des varia 37