Close Up (Jan-Jun 1930)

Page scan 000217 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 #:
000217
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 retirent, quand on ne les retire pas. Un physique ebouriffant ne constitue pas iin grave inconvenient . . . affuble de robes flatteuses . . . il passe . . . et repasse, sans provoquer la naiisee. Carpentier, Dempsey, Schmeling . . . trois sportifs populaires . . . ligurent dans une superproduction sentimentale, en gentlemen. Des as ! Les as sont inevitables. Que ne donneraient les industriels du lilm pour repecher les criminels et les vampires de tout acabit, car eux aussi, dans une superproduction, assureraient une location de tout repos. Les scenarios, pour la plupart, tiennent du romanfeuilleton, nourriture par excellence de AL Tout le Monde. II n'y est fait aucune part a I'observation directe, a la pensee, a la realite. Aucune prise pour la reflexion dans ce fatras de situations faites sur commande, ou les personnages ne font que gesticuler et ne vivent pas. L n scenario commercial ne commence, ni ne linit comme la vie, qui ne finit pas. L^n scenario commercial finit inevitablement de la facon dont se terminent toutes les histoires pour cerveaux faibles. II vous sert une tranche de destinee, comme une portion de moka, et Tune comme Tautre sont ecoeurantes. II est superflu de relever la complete balourdise des textes cinegraphiques, joints incommodes et souvent genants qui viennent expliquer ce qui n'importe, et n'importera jamais. Ah ! le cinema . . . Freddy Che valley. 149