Close Up (Jul-Dec 1928)

Page scan 000102 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 #:
000102
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 placed above the public's capacity to refund the manager. Foreign firms, too, have got so used to the type of Aafa comedy that is wanted, to the "EngHsh versions'' that have to be prepared, that they are chary of sending over their best or their better, work. But Mr. Ogilvie has plans, and he has confidence. There are people looking abroad for the films he wants, and there is the public waiting at home to see them. It is an interesting public . The Avenue Pavilion is in what used to be called theatr eland, and it is also in Soho. Waiters and chauffeurs and factory-girls have long gone there, and the}^ continue to. But cars begin to drive up, and people in dinner-jackets get out. The prices are not high, the theatre is comfortable, and it is easy to get to. There are all these auxiliary reasons for its success, and also it is not snobbish. The cinema has not been painted orange and black since the experiment was made, there is no air that you are assisting at something rather extraordinary in seeing good films. There is nothing to tell it from an ordinar\^ London cinema, save that there are no prologues and that the pictures are w^orth seeing. ' People are often writing to me and sa^dng that they like good movies, but whenever they go in London, the atmosphere is so ''precious", that they are put off. Well, here is the cinema for them, and for most other people. There is nothing of the Phoenix Society or Everyman about it. ]\Ir. Ogilvie himself is not one of those ''enthusiasts" who talk about the blacks and whites. The whole time I talked to him, I never heard him use the word ''art". He talked only 66