Close Up (Jan-Jun 1930)

Page scan 000172 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 #:
000172
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 fragment) to attempt intensiveness as against progression. There is a very good use of intensiveness through multiple exposure. A telephone is stationary centre, on either side counter miages alternate. This is motion n^ithiu the screen, as differing from motion across the screen, between the frames of the screen. The film is called a s}'mphony and is divided into three movements captioned in analogy to music. I do not favour this method as more than tentative to call to the spectator's attention mutations of tempo in the rhvthmic movement, which is also borne by repetitions of images, single or grouped variously. I compliment Mr. Alfred B. Kuttner for accepting and exhibiting this film against the counsels of commercial expedience and uncritical disparagement by the layman and those who call themselves critics. His programme-note is good if a bit grandiloquent (but then, do I not sound so here too?) by such means the little cinema serves its original educational purpose. A Hearst ]^Ietrotone and Fox Movietone Xewsreel Theatre now occupies the Embassy where Hallelujah ! was last shown. An hour's programme of soimd-newsreels for 25 cents (a shilling) and the house is always full. Theatres will be opened in other cities. In 1908 Pathe opened a newsreel theatre on the grand boulevard in Paris, and it is still going. AA^hen I went to the Broadway Xewsreel Theatre I was annoved by the hypocrisy of the re-elected mayor, of the industrial-captain Schwab, of the ^Martin Johnsons who made that spurious film, Simha. The interesting portions were those that were nor ephemeral, such as wine-making in France, etc., and a murderer c>jntessing. This lairer was poignant 112