Close Up (Jul-Dec 1928)

Page scan 00097 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 #:
00097
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 board front is cut out so that each roller will have a separate slit. Then each roller is devoted to some ingredient of the plot. Supposing one roller is given to "Incidents", instead of harmless months or days, it would be filled in with a list of cinematic happenings ; shipwreck, train collision, parachute descent, fire, flood, earthquake, tidal wave, (for such is the 'movie' mind). Another might be given to "Character" coward, thief, drug-taker, sex-maniac, murderer, red-headed momma. And so on thoughout the weary list. The gentleman, whose name features so prominently on the subtitles, takes the plot machine and turns its face to the wall, operates the knobs and trusts that resulting combination will inspire him to contribute to the great cause of bigger and better "mov^ies". If he can construct no box-oflice patchwork from subtly suggestive groupings, such as "coward" and "fire", he tries again. Maybe a gifted psycho-analyst could turn the simple toy into something quite sophisticated, but can you wonder at the childishness of British screen-plays when they are fashioned round such jejune scaffolding ? The delight of the British scenarist knows no bounds when he does it on an idea of his own. In his childlike simplicity he hastens to tell us all about it. We see it in the long shot ; it is emphasized in an extra large close-up ; ringed round with irises, vignettes, and cut-offs. The poor chap is determined that we shall not miss the full import of his masterstroke, and we become so sickened that w^e repeat with the music-hall comedian ; "Even if that was good I wouldn't like it". Whereas 6i