Close Up (Jul-Dec 1928)

Page scan 00099 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 #:
00099
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 tish scenarist sorts out his sizes for reasons of stress, if he has a bright idea of his own, or banal exploitation of some star's features. He cannot realize the importance of size or he would have evolved a more elaborate s\^^stem for his script, as the ordinarv^ British script of to-day contains but four classifications : long shot, medium long shot, medium close-up, and close-up. There should be the twice as mams arranged according to where they cut on the actors ; large head, knees upward^'.: figure with floor, etc. I feel that letters from indignant readers are imminent who \\ill accuse me of being spiteful yet once again about the Bri' tish film. Well let them endure "Silver Lining", '*Remem~: brance", and "Tommy Atkins." OSWELL BlAKESTOX. Mr. OGILVIE ; AN INTERVIEW I have frequently said what I thought about London programmes, indeed I have never missed an apportunit}' to complain, so it is only fair I should be one of the first to put on record Mr. Ogilvie's efforts at the Avenue Pavilion in London. Mr. Ogilvie is the manager of this cinema in Shaftesbury 63