Close Up (Jan-Jun 1929)

Page scan 00044 from Close Up

Record Details:

Title:
Close Up
Date:
Jan-Jun 1929
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
00044
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:
June 20, 2024
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CLOSE UP mutton ; when the children came home, they ran to Gish, and the mother was left with blood on her hands and the knife; she put it down but it made no difference. The children were instinctively repelled, and no one knew^ it but she and them. When her husband came home, she smeared the blood away, but he greeted Gish over his wife's shoulder, and she was jealous, and the carcass hung there. She could not help having to slice and scrape it. But the children turned from her, from the blood and knife part of her. Very simple. Three images and only small incidents. They were allowed to be small, they w^ere not in the least Germanic, not Lupu-Pick-TI/z/d Duck-ish, They were not piled up till by their accumulation they became significant, as do the incidents in Czinner films. They were rather the turning over of the whole which reveals these facets as it turns. You tell a whale by the water it spurts, yet there is w^ater all round. It isn't the whale that makes Whale evident, but the water it has taken in from the surroundings and then spurts up. When Gish is alone in the house, there is another instance of the peculiarly simple and potent use Seastrom makes of his imagery. Turning it over as if he were looking at it and would be very surprised but quite pleased if you noticed it too. The wind comes. It breaks a window pane. She stuffs a coat in. She makes things fast. The shelves sway. A lamp is knocked over, it sets fire to the tablecloth. These are little things, results of the wind. To put it out she has to take the coat out of the pane. Then the wind comes in again. All this is actual, but it is one of those rare occasions when actual representation gives us state of mind more 22