Close Up (Jan-Jun 1930)

Page scan 00084 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 #:
00084
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 L P Cenotaph vain by using all the money available for it to pick up the fragments of the old ; whereupon Mr. Shaw sells all his letters in order to buy up the B.B.C. for the express purpose of saying " I said this fifty years ago " for the rest of his life. . . . 16. After which, Another Abstract. This time of architectural shots. Closing in again on to the Square, ending the revue. Whatever firm made it ... . and since Metro-Goldwvn once ordered Greed, from which they have been suffering ever since, miracles do happen .... nevertheless, whatever firm did let this be made when thev wanted a revue, might take advantage of the proximity of steamship offices in Cockspur Street to say now, seeing that we have no spectacular colour scenes in this, old man, what about a big number showing some of the places they visit ? You know, ' winter in Jamacia and then a plantation setting, or a bit of Mediterranean, we can manage a very good blue? " They would suggest this, but one would do one's best to refuse. But what must at all costs be refused is cut-ins of turns at music-halls or cabarets. It must be a composed series of films, not a lot of short made-up ones. I don't really like having actor-stars in, the talent of the streets in the widest sense is entertainment enough, but there might be a need for box-office names, and if Nellie Wallace or Gracie Fields is going to bring people in, it wouldn't hurt. So have the twenty-five stars if you like, and show you can do more with them than Hollywood. But be firm about singers in Spanish shawls against black-velvet curtains, and 54