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 #:
000470
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
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CLOSE LP onlooker can follow. The milk symbolises the mother in its character of being her first and most important gift to her child, a gift linking together forever the giver and the receiver. The insect drowned in the milk indicates not only that there is to be for the son no escape, but also that he will die, not in the harsh besoiled prison, but as a free man in the arms of his mother. Thus, through a mere piece of by-play is the deep intrinsic emotional value of this work of art both epitomised and anticipated. 3. Drei Frauen, by Lubitsch. A young worldling has become, for the sake of her money, the lover of an elderly woman. Having achieved his expectations he no longer considers it worth w^hile to go on convincing her of his love. She has no suspicions, refuses to have any, and perpetually offers herself to the reluctant lover. The situation is delicate, one not easy to represent even upon thestage; upon the film, where things appear without the mitigating veil of words, in all their brutal reality, its representation would appear to be an insoluble problem. How has the producer found it possible to film this situation without sacrificing anything of its poignancy ? The two are sitting side by side upon a sofa. The woman leans against the man, caresses him, toys with his clothing. She flings her arms round his neck. Playfully she plucks at his tie and at last draws it out so that it hangs over his waistcoat. The man restores it to its place and is once more irreproachably correct. 14