Close Up (Jul-Dec 1929)

Page scan 000509 from Close Up

Record Details:

Title:
Close Up
Date:
Jul-Dec 1929
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
000509
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 and number 413 hops in his place. Well, you know who 68 is don't vou ? Try to guess while I tell you more. Here's the dock. And just look at those boys. And all this dainty flutter and twitter and holding up of cards. Numbers dwindle. The big blue eyes of Connie-Boy grow rounder and rounder, and still rounder. The animals come in two by tw^o, as of old, and the busy parsons mop their brows. Tobis with a tin-can orchestra makes sentimental noises. Rings strung on spikes grow fewer. At the end there's Connie-Boy, and there's the last bride, one ahead, already married off ! And what's to be done ? The fat man in the bar does surely smell. So the lads, in celebrating mood, wash him at least to the waist with soda syphons. Laughter, dwindling to Connie's laughter. They stare at him uneasily. He is good at hysterics. But they have a bereft and clinical flavour amid the other kind of hysteria that is mounting in the audience. When he is told that he was originally 68, and that 68 has the woman that was rightfuly his, his eye says trouble ahead, and 68 is Clifford ^IcLaglen. And the woman is the Companionate, which is perhaps one reason why Clifford is in such a hurry to go off after gold, bearing a camel who has the microphone to himself for the whole of five minutes. The jealous Connie breaks into the Companionate's room, and is found there, and there's your reason for the Big Scene. Night and the shadows falling, and the camera now fondly believing in mass-rhythm from choice rather than understanding, the men turn out, and the cry goes forth : " Lynch the . . . (when you say that, smile!) " and Connie is frog 351