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 #:
000513
Language:
English
Subjects:
motion pictures, Motion pictures -- Periodicals
Collection:
Global Cinema, Switzerland, and Early 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 sure of the atmosphere created her sensual and destructive indolence, and by the feeling of being cooped up in such cramped space with this young man, (toward whom, it is clearly indicated she entertains feelings only of morbid curiosity) the obvious should happen. The young man moves over from the sofa to the bed. There is no nonsense about it. There is no atmosphere of a love affair, or of illicit beauty. It is deliberate, cynical, and part of the room with it ^ shabby curtain over the door and its untidy table and general litter. The husband comes back and finds out. He becomes angry more through his wife's attitude than because of what he has discovered. She pretends shame, but there is something taunting and triumphant behind it. The husband sta,mps out in a rage. A little reflection convinces him he does not Hve in a world of mock heroics ; he is comfortable at home, so he goes back. He is a little aghast w^hen his wife and the young man retire for the night. It is now his turn to sleep on the sofa. The young man and the husband remain good friends. They play chess together. Xow it seems inevitable that the young man should order the wife to make tea. How different this from his waiting on her a few days back. She, very reasonably, refuses. The situation is full of dissatisfactions, pent up feelings. The two men play their games together. She sits at the window. The room gets on her nerves. Her furtiveness and treachery become more pronounced. While sitting at the window^ a motor car with strong headlights dashing past startles her. She starts forward in her chair, then sinks back to her despondent mood. 7t