Close Up (Jan-Jun 1930)

Page scan 00055 from Close Up

Record Details:

Title:
Close Up
Date:
Jan-Jun 1930
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
00055
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 instinct to shatter. They point out to him that machines are not a new class, not robots; they are means to break a class. Galley slaves; the easy work of the machine. \^ertoff cutting". So much more than possibly experienced bv the speakers, because the new order embraces everything. Crowds, because the new order embraces all. Filimonoff listens, forgets his grudge, pawns his cross, checks the rage of a fellow-worker, cultivates his beard. At number 13 the woman in the train lights with her husband. This stuff dragged in to prove that it is the influence of the revolution, not the influence of the dream woman, which has changed the lovely Eisenstein type to the proletarian Menjou. Filimonoff arrives to deliver a letter. Picks up a vase. Sees himself as the man in the factory, as the officer with the dog, and conquers himself. Victory. A new man. Yes, but something else has died. ^ ^ With Russian flash titles The Revolt is rather confusing. Flowers in a landscape where men fight. Camels. Man shot from a roof. Child (flowers in the landscape) urging on combatants. Telegraph wires. Sleeping town. The speed of electricity along the wires. And, with the aid of the title, one records that someone has revolted. Soldiers learning. When will they stop learning? A less friendly mind might breathe " Salvation Army Follow the large heads cut off at odd places, cut for composition and not to give the public the whole of the face. The barracks full of smoke, the lazy men who will not obey, the type who sleeps through it all. Out in the open; the 33