Close Up (Jan-Jun 1930)

Page scan 000281 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 #:
000281
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

CLOSE UP categories of effects (on the various sense-organs) but as the single unit of the theatre. Addressing himself to the various sense organs, he builds up his calculation (of each separate ' piece ') on the final total of the appeals to the human brain, not taking account of the incidental deviations bv which he arrived at his end '\ . . Art Life, No 34. 19. VIII. 28. This description of the Kabuki " theatre proved prophetic. This method became the basis of the montage of The General Line, * * * Orthodox montage is montage according to dominants, i.e. joining together of the parts in accordance with their predominant character. Montage according to tempo. Montage according to the dominant infra-cadre tendency. Montage according to the lengths (degrees of slowness) of the pieces and so forth. Montage according to foreground, or background. The dominating characters of two parts placed side by side are felt in certain mutual relations of conflict with one another, w^hence arises a certain expressive effect (by which we mean here a purely montage eft'ect). This condition embraces all the stages of intensiveness of montage conjunction — of shock. From complete contrast of dominants, i.e. sharply contrasted construction, up to barely perceptible " transfusion 185