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 #:
000325
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 Street was noble, this was trivial. A young wife neglected by a husband w^ho loves her but is too busy to say so, becomes at length so overstrung that she rushes to an artist friend who suggests they go to Vienna together. She responds with delight (surely a far too sudden delight ; too complete a break of mood from the burning, unhappy resentment of a moment earlier?) and leaves to prepare. The husband who has followed in a taxi, sees the artist and points out that he is rich and the artist poor, and he would do well to leave his wife where she will have the things she needs. So it is he who meets her at the station and brings her home, where a curt note from the artist completes her humiliation. The husband has that night another meeting. This is, the young wife feels, just too much. She rushes from the room. After going to, and loathing the kind of night carbaret her friends frequent, she returns, fearing suddenly that her husband may have shot himself. But he has only awaited her in their bedroom and he wakes to her embrace. A carnival doll, however, turns reconciliation to deeper misunderstanding, and the young wife, making a last gesture, begins a flirtation wuth a boxer whom she had met at the carbaret. Her woman friend one day informs the husband that she has gone to the artist's rooms with the boxer. The artist has returned to find her there on the point of being forcibly raped by the young man, and torn his sketches of her from his easel. The boxer leaves, and the husband arrives. She tears off her dress and appears before him thus, unquestionably compromised. Divorce. But this very event clears the air, and the misunderstanding. They come together again, and decide to remarry. 73