Close Up (Jan-Jun 1930)

Page scan 00090 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 #:
00090
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 IP dared not publicly reveal their fears arid forebodings — but from the inner chambers of a consciousness that all was not well with the celluloid world. The public had been sated with films. It was growing peevish and disgruntled; tired of its diet: dissatisfied; seeking elsewhere for change and novelt} . Every possible variety of screen fare had been dished up, and its monotony had been camouflaged to the limit with garnishings and gravies and with ingeniously seasoned dressings and sauces. The Hollywood chefs had reached the end of their resources ; and the Crowd — the sustentative movie patron — was turning away, its stomach surfeited and its appetite jaded and querulous. Yea, mine own familiar friend, in whom I trusted, which did eat of my bread, hath lifted up his heel against me.'' The Hollywood movie proprietor, more than lavish in the feeding of his exacting patron, had e^ ery cause thus to echo the wail of the Psalmist. He had exhausted everv effort to please, and his quondam friend and supporter was lifting up his heel against him ' He was in despair. And out of his despair, and out of the dire necessitv of the situation, was born the invention of the talkie. True, like many another saviour, it was not at first recognised. Hollywood not only refused to welcome it, but also there were those of the fold who profanely scorned it or treated it with loftv disdain. Now, however, after a short period of trial and probation, it has been accepted — unanimously and enthusiastically accepted. Its true character is acknowledged., and the Hollywood altars are a-smoke with f^t thank offerings and votive incense. 60