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 #:
000484
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 bon. This is the positive electrode. Smaller and solid pencils are used for the negative electrode. When an arc light is burning there is a tenuous arc mist. Sometimes this becomes very pronounced and threatens to spoil photographic 'clarity'. The arc mist is due, as a rule, to impure carbons, which have been too heavily cored or copper coated . The carbons may burn in any position. In a Westminster they burn at an angle ; in a Duncan Watson several burn together ; the Barden burns larger carbons. It has been found better to set the carbons horizontally when the light is more evenly spread. In the studio the electricians are told to 'flood' it when the lighting is to be more spread, and to 'spot it' when the lighting is to be more concentrated. Both these operations are carried out by adjusting the carbons. I am afraid that it is impossible to give a list of the different makes of lights used in the studio as these are always changing. New ones are coming on the market and old ones — vanishing into British studios ! A common type is the Kleig, but the Weinert is an improvement on the Kleig as it is fitted with reflectors. A practical light for ordinary purposes is the Winfield, known affectionately in the studio as "Winnie". A 'baby' is a baby spot hght. Overhead lamps are called 'domes'. A 'sun' is a large and very powerful arc light, it gets its name from its circular shape. A 'blood pocket' is an electrical device to produce splashes of blood on the actors. There are also lamps which give the effect of 42