Close Up (Jul-Dec 1928)

Page scan 00024 from Close Up

Record Details:

Title:
Close Up
Date:
Jul-Dec 1928
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
00024
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:
July 25, 2024
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CLOSE UP quelles sont les opinions qui prevalent dans ma conception personnelle du cinema conception en laquelle je crois sincerement et que je mettrai en pratique dans la realisation du nouveau film dont il est question ci-dessus. (( J'ESTIMK QUK I.A VAI.KUR PRIXCirALK DU FILM LUI EST CONFKREE TAR I,A diversity: et la COMr-LEXITE DU CARACTE:rE et DES emotions HUMAIXES. « La rassion, la sensibieite, seules ont droit d'acces au film, et je ne me contente pas d'enregistrer la manifestation toute exterieure des sentiments, mais bien plutot de les saisir et de les montrer tels qu'ils sont en realite, dans la vie de tons les jours. (( Mon appareil de prise de vue, ie veux le rendre semblable a celui de Roentgen, dont les rayons inquisiteurs percent notre nature intime. J 'aspire a proieter sur la toile le fond meme de I'homme afin que I'anah^se des sensations determinantes, des pensees et des actes se traduise en images lumineuses. Le Professeur academicien Bechserew, decede actuellement, me familiarisa jadis avec la science des reflexes huniains. (( J'ai consacre quelques annees a I'ctude du determinisme des etats pvSychiques, de la theorie des refoulements de Freud notamment, et des manifestations diverses de la peur, de I'angoisse, de la tristesse et de I'amour. Ce que i'en ai appris m'est tres utile actuellement pour la preparation des acteurs* « L'bomme qui apparait sur I'ecran ne doit pas avoir une anatomic de cire et 11 faut que nous le sentions vivre intensement, qu'il nous prouve de suite que son coeur bat et projette un sang chaud dans ses veines. Les actions humaines ne vSont evidemment pas objectives et subissent I'influence du milieu social auquel appartient le personnage que nous voulons representer. Je n'ai garde^ naturellement, de negliger ce fait en travaillant. « D'autre part, ie suis convaincu de la valeur d'un rythme ordonne et calme dans le jeu des acteurs, et des pauses frequentes. Je dirai meme sans . hesitation que la pause dans Taction d'un film a une portee tres definie. E. Hellmund-Waldow.