Close Up (Jan-Jun 1929)

Page scan 000350 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 #:
000350
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 humane Americans . . . only his eyes went very strange and his face set when he spoke of his companions who saw fit to do awav with themselves after the armistice. We must leave that, we must leave dead bodies of heroes achieving no name on tablets set at the base of statues nor on gold-wreathed slabs set ornate and respectable above bankpresidents' mahogany roll-top desks. Our concern is not with politics or politicians, nor the housing of the poor nor the educating of the ignorant. Our concern is with screen art simply . . . and with a particular still that did not match up with the cinema scene itself. I saw Joyless Street a second time. It was onlv last year. Then I did make a point of looking for the dead bodv and did see it. The first time I was so enchanted with light filtering through those shutters in that half-darkened room, I was so interested in the mass effect you got with the men's thick shoulders and blocked in shapes ... is it possible that in the earlier version the shots showing the dead woman on the floor were for some reason deleted?" Ah," interrupted Mr. Pabst delightedly, I didnot mean you to see the bodv of the murdered woman on the floor." H. D. 68