Close Up (Jan-Jun 1930)

Page scan 00056 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 #:
00056
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 giving out of arms, the interesting things done with wheels of gun-carriages, heads in furred caps. A shooting party, shots along rifles, a last minute rescue. Woman of the new order, revolutionary types. . . Hardly the scenario, but notes, taken during the projection, are now as confused as the memory of the film. The Stump of an Empire, Prison, and even The Revolt . . . how do the Russians manage it? Ermler and Raismann are two new names for the cineaste to play with. OSWELL BlAKESTON. PRE-VIEW OF THE GENERAL LINE It is impossible to write a criticism of The General Line, in a few pages, having seen it only once. It is possible merely to indicate the scope and outline of the picture. It is baffling because one does not know whether to appraise it from the sociological, the cinematographic or the purely Russian point of view. It is particularly difficult for the trained eye not to be aware of the immense technical thoughtfulness, not onlv of image and rhythm, but of symbolic import, and speaking personally, when I saw the film for the first time, this cut across judgment of the film as a whole. The General Line was begun before Ten Days, when the 34