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 #:
000516
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

CLOSE UP compare it with Potemkin, which belongs in the propagandistic class. But our advice to everyone who can is to see it at all costs. It is one of the most momentous contributions to film progress yet achieved. The principal parts are played by Ludmila Semenowa, as Vera, the wife ; Woldemar Fogel as the husband, and Xicolei Bataloff as the friend. HEIMWEH (Homesickness) A Terra Film by Max Glass, with Mady Christians and Wilhelm Dieterle. A certain distinction holds the attention in this film where attention is strained by too much unrelated incident. The story is of Russian exiles, and has some excellent acting. It opens with a surge of wild faces, an effect both starthng and dramatic . Revolution . Near by a great palace is silent. The General rings and nobody comes. He goes to the top of the stairs angrily. Nobody answers his calls. Presently Lydia (Mady Christians) comes from her room. She goes down the huge staircase to find out what is the matter. She finds one servant remaining only (Wilhelm Dieterle) who tells her they are abandoned. These opening scenes with the atmosphere of suspense and the deserted palace and vague uneasiness or impending calamity were w^U achieved. Later they flee... to Paris. (Is 74