Close Up (Jan-Jun 1929)

Page scan 000673 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 #:
000673
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 VoL IV No. 6 J^ne 1929 AS IS BY THE EDITOR For no known reason — since that of spite must be discounted — they revived Feyder's UAtlantide at our local cinema. Revived is perhaps not the most felicitous word, for it was everything but that. And then, on top of it, came La Roue — by (need I say it) Abel Gance. And in between, tempering injustice with mercy, the quietly deft and living Feme, This isn't (though it could easily grow into) a parable. Leaving, however, Gance aside — as no more successful in this than his very own triptych — U Atlandide did make me think, at times kindly, of some of the amateur films I've seen. The reference books easiest to refer to don't seem to tell me when it was made, and it's not worth a hands-and-knees search, but there is no doubt that that was a film in its day. We had a duped copy, which was no help at all, and only accident had shortened, more wisely than censors' scissors, some of the scenes within scenes from the stories within stories, that gobbled like a clogged fountain at a method similar to Boccacio's or Cervantes' young man's tale of the o