Close Up (Jul-Dec 1929)

Record Details:

Title:
Close Up
Date:
Jul-Dec 1929
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
000537
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:
August 29, 2022
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CLOSE UP the crook in your picture hide in a tree. I could see the point right away. We'll buy out any man's original ideas whether he calls himself Shakespeare, or Jimmy Perkins. Well, that's why you are here to-day under contract, my boy." " Well, old top," he indicated the end of the audience by a shifting of the chair, "I'd better be moving, got a lot of hard work ahead of me yet. Pete Heineman, my director, Rosa del Oro, and myself are going for a yacht trip to frame a movie that's going to take the world by storm. Between me, and you, and the telephone pole, Rosa is a peach of a girl, some personality, she can soak her socks in my coffee any day." And Jimmy Perkins went out into the air, the faint aroma of a Havana cigar lingering about him like the august memory of the Presence he had just quitted. And like the seers of old, foretasting future bliss, he saw himself in his mind's eye mounting rapidly that ladder of SUCCESS which leads from the bottom of twenty-a-week pay envelopes, dirty press rooms, sneers of " superiors " to that desirable heaven where Publicity Agents attend w^ith baited breath the steps of Majesty, where left-handed affairs with " girlies " are considered by broad-minded, truly Christian Gentlemen of the Press but as pardonable, extravagances of supersophisticated geniuses, and the society of princes, counts, millionaires, " beauties ", politicians, bootleggers, short story w^orld champions, and adoration, and adulation, and " parties ", bank accounts, and more bank accounts are but in the daily round of life . . . And he saw all this and it was good. Michael Stuart. 371