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 #:
000389
Language:
English
Subjects:
motion pictures, Motion pictures -- Periodicals
Collection:
Global Cinema, Switzerland, and Early 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:
June 20, 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 All this trouble and expense to film an unbearable symphony; to film the unfilmable. Music is cinematographic, but not a symphony concert. How they give themselves away ! OSV^ELL BlAKESTON. EXPERIMENTS IN ULTRA-CHEAP CINEMATOGRAPHY By Adrian Brunel My experiments in ultra-cheap cinematography date from 1923 when, having just made The Man Without Desire, I was warned that I might never get another job as a director. It was said to confirm the suspicion which my A. A. Milne comedies had raised amongst the film trade that my brow was no lower than it ought to be. In my innocence I believed that these comedies had been accepted by the public as amusing— that is, funny without being vulgar. Of course, if they had let me be really vulgar, I might have been really funny, but then I would have been highbrow really. It was a bad beginning. They had chalked me up highbrow and it has taken me all the tears of Blighty to wash it out. But I sensed my number was up for a bit, so I set to w^ork by giving myself a job in my own films. From being a penniless and discredited director, I became a penniless 43