Close Up (Jan-Jun 1929)

Record Details:

Title:
Close Up
Date:
Jan-Jun 1929
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
000557
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:
August 29, 2022
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CLOSE UP Swinburne, who was a poet, and you may even call your film Safe To Sea, which it won't be, but that would be a little too advanced as yet. 7. From this you go to a town waking. Or sleeping. It can also refuse to wake and it may linger over going to bed. But show that you have seen Berlin. 8. Remember that the day is over when you could collect a few glass fish, a pleated paper lampshade and an egg, and whirl them round. The Americans no longer use trick photography, and hesides^you can't afford to. And don't know how to. 9. The day for screaming faces a la Russe is also past. Repose and vacuity is to be aimed at. It is also a little dangerous to take things from the Jeanne D'Arc angle, as Feyder did w^henever a door opened in Les Noiiveanx Messieurs, It is still done, but things move quickly, and you would be out of date when your film came on. 10. Significant shape is also not what it was. You choose an inkpot not for its shape, nor the light eft'ects, but because it is used. Therefore, it is as well if it is dirty, and better if it is chipped. You see, it is not significant shape, but fragments of life you want. That is why you must have free access to dustbins. Fragments of lives, expressing Life. Yes. You might put your camera in a window, and set it going, but no one has done that yet. Or cover half the lens so that Paris was seen as a blind beggar sees it. 11. You can, on the other hand, still use percussion instruments but use them as the beat of the human heart, 25