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 #:
00059
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 to come back to you. O, this street, our eyes cry, how we know it. How much a street and how more than a street it is. The girl wakes late next morning. Nielsen is getting breakfast ready. Her beetleish bodice is now a bright, white w^ooUy. She has brightened the room. She is brighter herself ^ as she sets the tea-cosey that you feel she does not ordinarily use. This means something, at last. She is, as she tells the girl, pincee. Pittschaw comes out. He wishes to go, to pay m the ordinary manner. We know what Nielsen's eyes do to us, w^e are watching them, so we know v/hat will happen. "There is no need. You can stay here as long as you like". She has collected her savings, wrapped up in stays, from which, she took last night to pay off Hom-olka, to buy a confectioners' that is for sale. She goes out, persuading the girl not to enter her room while she is away. She knows this "each-for-her self" too well. Smartened, less sinister, she visits the shop. Over a cup of coffee, it is settled. Over a cup of coffee in her room, Homolka has put things to Pittschaw. We share Lea. We the boy looks at Homolka. We What was he feeling for Lea before ? We do not know. Lea is old. Much more my style, says Homolka. The fluffy girl is yours. So the boy does not know" the girl ? Lea has been careful I Homolka fetches the girl . She struts her stuff. Last night's streamers fly around, linking them both up, hang down from the lamp. Very fine acting here by Pittschaw. The door of her room closes on what she has taken from Lea's room. 35