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 #:
000149
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 Der Sohn der Berge {Son of the Hills). These have the old tricks, the old jig-saw business of mate and checkmate, and are not to be ranked among the best, among Bett und Sofa, The End of St, Petersburg, Das Dorf der Siinde, These have such a new approach that thev are, in a sense, a regeneration of the films. Let us hope that the Russian endeavour to secure an international market for its films will not mean deterioration. One or two recent ones have shown a much weaker tendency. Xot all, however, thank goodness. What a vast pity it is that Britishers, quite justly famed for their sense of fair play, should have refused to listen to " the other side " of the question. The English public would be the first to appreciate and give fair judgment to such films as Ten Days, and also to take their chance to realise that Russia really is building magnificently, and that the Revolution was not canaille ousting their betters, but bitterly oppressed and wronged people making a final, desperate bid for life. \\^ell, these are the questions, the problems, and the movements of Berlin of the moment. Next month I will give more details of the beginning of the autumn season. With Pudowkin, Eisenstein, Room, Pabst and other distinguished directors making or about to make new films, there will be plenty to occupy our interest for some months to come. The new season may be more rewarding than the last. Kexxeth Macphersox. 11