Close Up (Jul-Dec 1928)

Page scan 000182 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 #:
000182
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 stature, must be not only individual in conception, form and content, but s'iiould be presented as well in a structure embodying a new type of architecture, and inspired bv the fundamental necessities of pure cinema, Svmon Gould, the director of the Film Arts Guild, has engaged Frederick Kiesler, of \^ienna, Paris and New York, a noted architect and stage designer who was formerly identified with the International Theatre Exposition. The Film Guild has given Mr. Kiesler full rein to conceive, plan and design both the exterior and the interior of the Film Guild Cinema as well as unicjue projection ideas invented bv him. He has given the cinema and its individual needs intensive research and study since 1920. He has evolved a new science called " optophonetics '\ which is a radical treatment of color, sound and sight from the cinema standpoint. He pavs special attention to what he terms ''visual-acoustics'', a screen which permits new methods of projection, a new scheme of atmospheric decorations of a chameleon-nature and other ideas which emphasize radically the quintessence of the cinema. Mr. Kiesler embodies his suggestions and ideas in the following Cimema Manifesto :) THE CINE^IA ^lANIFESTO. We ail know that our present-daA' cinema, or motion picture houses, are not cinemas, but merely imitations of old European theatres into which a screen was hung. But not all of us know that the Film has matured enough to create its own form of architecture, which must signify— 100 per cent. Cinema. 36