Close Up (Jul-Dec 1928)

Page scan 000287 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 #:
000287
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

CLOSE UP how human met human, not how man met fiend. The parts were flawlessly played. F. E. Samytschkowski as the old man is beyond praise. The son of the house, and his own son were equally, in their places, magnificent. The casting could not, in fact, have been better. It was hard to realise how it can have been so good. Technique was stimulating, simple and experienced. Two Days once seen can never be forgotten. The Peasant Women of Riasanj (Das Dorf der Sunder). SovKiNO film. Directed by Olga Preobrashenskaja. Wassily, the father, E. Fastrebitzki ; Ivan, his son, C. Babynin; Wassilissa, his daughter, E. Zessarskaja; Anna, Ivan's wife, R. Pushnaja; Wassily's mistress, O. Narbekowa. The tremendous sociological importance of this film is in its insistence on the need to recognise the problems arising out of primitive conditions in the villages. Towns carry their own special problems, and the problems of towns are far more well known and recognised, and to a certain extent dealt with. But progress, this film insists, cannot be confined to towns to the exclusion of village life. It is Spring in Riazanj. Women are washing in the lake, and great stretches of bleaching cloth lie on the grassy slopes. It is a gay and animated scene, and the picturesque peasant costumes, heavy and massive and embroidered, women with skirts fastened back and large bandaged feet, add brightness to a scene already bright. Over the river a cart drives, laden with grain in sacks. The ford is tricky and the cart goes in deep, to the mirth of the women and a 43