Close Up (Jan-Jun 1929)

Page scan 000318 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 #:
000318
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 his films being banned here, what Hghting he uses, is Russia nice to hve in ? He spent a lot of time seeing old Chaplins he hadn't seen before, he ssiw a bit of O Ships, but he really spent most of his time here being allowed here. It was very Pudovkinish. But think of sound imagery in his terms, and thank yourself that you are alive, if you are. Robert Herring. INTERVIEW WITH HERR MEISEL Owing to a fortunate meeting with Henry Dobb, of the Sunday Worker, and the perennial hospitality of Mr. Ogilvie, of the Avenue Pavilion, I had the pleasiu'e to meet Herr Meisel at a midnight try-out of Berlin on January 28th, which the Avenue is reviving the following week. It is well knowm that Herr Meisel is the composer of the musical setting in entirety of Berlin, Ten Days and Potemkin. It is, perhaps, less well known that in his earnestness that Berlin symphony shall be faithfully interpreted as he desires, Herr Aleisel has specialh' come over to London. ^Ir, Ogilvie, in introducing Dobb and myself, spoke of the present being his fourth visit, the intention being that as the composer played, Mr. Grigg — the Pavilion organist— should study the 44