Close Up (Jul-Dec 1928)

Page scan 000291 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 #:
000291
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 lived. Wassily takes no notice of her angrv protest, but goes out bearing the shawl. This, indeed, is her defeat. She sits down. This is not a moment for the hard remorseless fighting she has been engaged in. She simply sits down. And gradually her face puckers into a grotesque, miserable dog-like howl. Presently, however, she is creeping around the house. Where is Ivan and where is Anna? She opens the door to the yard, listening and muttering silently. A curtain of steady rain drips off the thatch in front of her. She tries another door. Darkness and quiet, and the sound of rain. It only remains to confirm the truth. Anna's door . . . She draws back hurriedly in shadow. Wassily comes out, turns, closing the door and sees her. They stare at each other. The house becomes taut with the destruction wrought. He goes without speaking. Revolution has ended the War. It is new Russia, and time has elapsed. Wassilissa has joyously greeted the return of the smith. Women come to her. We need help with the child's home," they tell her. She prepares to go with them. The smith protests. What will I do if you waste all your time up at that place? His manner is new, war-acquired. In just this simple scene Preobrashenskaja has given a vivid cameo of the hardening effect of war. In some subtle way his charm has gone. When he tries to forciblv detain her, she says quite simply, " That sort of thing is finished with. This is the New Russia," and walks out. The home " is the dilapidated mansion of the late landowner. Hundreds of women and children are clearing and cleaning it up. A letter has come. The mistress' child comes running, 47