Close Up (Jul-Nov 1927)

Page scan 000490 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 #:
000490
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 I dare :::: leave this subject without comment on the new patent — the light dome. This will be of tremendous interest to would-be stars, for its inventor claims that it will make a woman of sixty look hke a girl of sixteen. I tremble if it is to give new hfe to some of the old stars. Its secret Ues in the fact that the hghts never faU directly on the face but are reflected. Its drawbacks are that it can only be used for close-ups' and will encourage a plethora of emotional 'close-ups". OSWELL BlaKESTOX. THOL' SHALT NOT SEE... It Crper.ds v. here ^ ru are of course. If you are in Germany ycv. :::: scr I'-.-: B:z Pj.'.'.j.z. Potemkin is banned in E::gk::i i::d the scenes c: :-:r workers' revolt are cut out of M{:-:?:'.-s in Italv. Di^erent countries show different versions Jy.'.{ss S:re{:. Here you may see this, there you are allowed that. Aln:-:?: n^iwhere may you see a film as the director i:iade it. And :ha: is what I complain about. Therr .-,rr many things one does not want to see. The cinema is so direct that much that is bearable in cold and cLr^cin^ -:r:::: :e:::::es \dolent and shocking on the screen. One co-s no: wan: :o see blood oozing out of an elderly 4S