Close Up (Jan-Jun 1930)

Page scan 000199 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 #:
000199
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 too proud or too dominated by communal atmosphere to have sulked simply because she was not elected. Friends in Berlin assured me, however, that it happened because she being" more developed than the bovs, considered that they had based their choice on pettv reasons. I deal with this in detail as I think a film of this kind bares certain psychological differences in the education of different peoples that need to be understood, especiallv bv the teaching world. That night the Tertia sets out in the late evening armed with paints and brushes, and covers the town with inscriptions in five dift'erent languages Be kind to animals," " Soyez bon pour les animaux," etc. Only Daniela remains behind comfortably in bed. But the one small boy who has remained true to Daniela, finding that they are being pursued by the solitary policeman throws himself at the policeman's legs in order to permit the others to escape. He is himself dragged off to the town hall. There he is presently rescued by some of the other boys who accuse him (for no apparent reason except to make a school storv !) of having betrayed them. He is of course rescued by Daniela whom they are anxious to persuade to return to the band. But the war on cats continues. Finally they march again to the town, but in daylight and with all the pocket money they have been able to collect. And this is the best moment of the film. For the children go from house to house collecting all the cats they can buy for sixpence each and putting them in a place of safety. J^ ddenly, however, the town realises what has happenea ...ad the town children pour out to fight them and to open the baskets so that the cats escape and, therefore, as stray animals can be killed. The Tertia are outnumbered D 131