Close Up (Jul-Dec 1928)

Page scan 000489 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 #:
000489
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 unprecedented venture. Xo periodical or newspaper at that time was paying the sHghtest attention to the movies. Indeed, there was a prevaihng rule among publications that any reference on the part of a writer to this cheap, bourgeois stuff should be blue-pencilled. But Frank Woods, with more vision than his contemporaries, succeeded in inducing the Dramatic Mirror to run his film reviews. And thus was inaugurated, under protest and with prophecies of a speedy discontinuance through lack of public interest, an innovation which not only survived in this particular publication, but which to-day has become an established feature of newspapers and magazines the world over, to say nothing of the scores of periodicals devoted exclusively to the discussion of the once no-account and disdained movies. {To he continued.) THE QUERSCHNITTFILM* There is nothing more human than catchwords. In the mouth of their creator they reveal the sudden consciousness of presentiment. In the mouth of those who repeat them, parrot-like, they conceal the everlasting mindlessness of the hum-drum day. A slogan is something akin to style. ''' Literally the Cross-cut Film The meaning is, however, a film composed of pieces cut from other films. (Ed.) 25