Close Up (Jan-Jun 1930)

Page scan 000173 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 #:
000173
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 and condemned the purposeful gentleness of the interrogator, the ghoulishness of producer and audience exploiting the poor frightened man, the " science " of criminology enjoying its new toy, the circumstances that made a harmless individual a murderer, the tabloid scandal tone of the theatre's announcement of the film — and created a pity, where pity could be created, for the man who said youse " and could not remember what led to the firing. It was an expose of humanity that was more concerned wdth the capture of the criminal " who did not want to escape save by suicide, than with saving the w^ounded girl. A very dramatic film that should free the actor, but a film which should not be repeated or broadcast. Harry A. Potamkin. TWENTY-THREE TALKIES From Al Jolson to Atlantic, And even beginning before, with the De Forrest shorts at the Capitol, and the first Movietones at the New Gallery. I went to The Singing Fool twice because I wanted to see the end of it ; but I never did. Otherwise I saw every talkie that came over, up to The Canary Murder Case. Then I got ill for a few months, but that didn't hurt any. Talkies and I just went 113