Close Up (Jan-Jun 1930)

Page scan 000174 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 #:
000174
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 on in our own way. I lay in bed, thinking, and talkies, as for as I could see, went on, not thinking, but being made. I saw Broadivay Melody, which was a great shock, and I went away for a month. Blackmail, when I came back was a surprise. Now I have seen most of them again, and want to explain why. Sure .... you get out of here before I cop you on the jaw . . . Oh, yeah? .... You've said it ... . you're yellow . . . sure . . . come on out of this, sweetie .... vou leave this to me . . . sure .... and if that pink-eyed bum comes near me again . . . Oh, yeah ? ]\Ir. Callaghan, you wouldn't do that to a porr goil . . . what wants her name in lights . . . bo, yoti're a pal . . . that's all right, bo . . . regular guy. . . . Avouldn't let my mother know .... sure, she's white .... she's yaller . . . I'm feeling blue . . . sure, sure, sure, I couldn't git sore with you .... is that so ? . . . sez you. Well, all that does need explaining. Especiallv when none of the esses come out. But out of all that, rising out of that perpetual chatter, there have been one or two little whispers, twent}'-three, in all, hints of spring if the rash winds of production don't blow them down before thev have had time to show what they were like. The first was Melody of Love, where one or two things happened for the first time, including an attempt to use sound expressionistically. There was a string of play-films, Hometowners, Interference, The Doctor's Secret, which quite successfully put the movies inside a proscenium, in the usual attempt of the magnates to show how much more than mere cinema the movies really were. As good as a play. Then it occurred to someone that they were as good as life, and we 114