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 #:
00057
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 he wants to feel sei respect, he can stop being kept by her. Why will he fuss, th/-. scarf would have been all right, if she had put it on that v\ -y. Now it isn't, and any\vay, on va descendre. Come on, ^ a says to the girl, on va descendre. Has there ever been a ni ore frightening caption than that ? But the girl has no neea to descendre to-night. She is going to a supper, champagne md all. Nielsen gives her a shoulderflower, she is helpiiig this girl on her Vv^ay. She herself is past being given champagne suppers. She goes down. This way and that, feet c /er the cobbles, feet, sway, a step or two, turn, the street, fee i, feet, fade out. The girl is going i:u-town. Up town, too, dinner is waiting. A son has not comt home. The mother waits, and waits too, we can see, to interc pt the storm. It is a pity to use the cliche of a key fumbling at : he door. But the son comes in. "Again ! " the mother says, ":n this state again". Father. A scene. This is, on the whole, a bad scene, not lifted up, as the rest are. Too strongly lit. The son, sick of all this, and a little sick, too, with drini:, or will be soon, flings out. Of course he hits the street. H-:mgry and giddy, he sits down. This after sometime, and the} have all been expecting him home again. Here is a flaw, though you did not notice it the first time, and might not have thr second had not ]\Iarc AUegret pointed it out. The son should be younger. That "again" of the mother spoilt it. If h;: drank often, he would know what to do, he would have friends to go to, other bar-companions. And Asta Nielsen, Vv^hen -he comes back, and finds him heaped on the cobbles, wouldn t have been the first woman he is to know. 33