Close Up (Jul-Dec 1928)

Page scan 00055 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 #:
00055
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 Apparently there is only one way for the young, unknown writer of intelligence to get on to the w^riting staff of a movie studio. He must be able to crash" his way into one of the large fiction magazines of America. This may take m.any years, for they specialise in "big" names. Otherwise, the situation seems pretty hopeless. P. Beaumont Wadsworth. LA TRAGEDIE DE LA RUE Whose feet ? Where are thej' going ? That is not the kind of thing we shall know. We feel that. These are feet seeking to escape us, tripping and creeping (feet, feet, feet) close to that wall. But we know the wall, we know the mud and the cobbles, and the feet are treading through something we know. The street, too. We know it, not only because it is photographed, a httle over-luciously this time, \>y Guido Seeber. The walls and the angles that comes down here, so that there is a way going up there and a wa\^ going ever so slightly, but how differently, to the right. That second way is different from the first, one is hidden from the first, going there, one might be safe, or one might miss something. Which way did 3^