Close-Up (Jul-Dec 1928)

Record Details:

Title:
Close-Up
Date:
Jul-Dec 1928
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
00047
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:
June 20, 2024
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CLOSE UP tion, we are unprepared. This Jeanne d'Arc is sprung on us and why should it be ? There is a reason for most things. I think the reason is that it doesn't link up straight with human consciousness. There is a gap somewhere. We criticise many films, sometimes for crudity, sometimes for sheer vicious playing up to man's most febrile sentiment, sometimes for cruelty or insincerity. We criticise Jeanne d'Arc for none of these things. The Jeanne d'Arc of the incomparable artist Carl Dreyer is in a class by itself. And that is the trouble with it. It shouldn't be. H. D. CRASHING THE MOVIES ' This is an unvarnished account of how I stormed Hollywood, and of how I failed to "crash the Movies". I write with the hope that other intelligent young men and women of my generation will come forward and declare their attitude towards the new art of the motion picture. The genesis of my pilgrimage to Los Angeles is to be foimd in three slight happenings in the summer of 1927. No. i. Ernest Vajda, Hungarian dramatist, author of Fata Morgana, 23