Close Up (Jan-Jun 1930)

Page scan 000589 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 #:
000589
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 failings. All the same this type of latent colour record was more commercial than film which is itself coloured. The Multiple Film Process called for three pictures taken successively on three separate films. (Each film shot through a different colour filter). The same lens was used for the three films, prisms ensuring the same angle of vision. A slight shrinkage, or any other cause for lack of synchronization and the whole thing is blurred. The Multiple Image Process splits up the single frame for the reception of three tiny images. For this system the spectrum is generally split into two ; certain natural colours, therefore, cannot be reproduced. It is up to the art director to be ingenious. Present processes, in use in Hollywood, are subtractive. Technicolor needs a Technicolor camera. Prisms and filters are so arranged that successive frames of the same film carry latent red and green colour images of the same object. Two strips of positive film are used in printing : red colour values on one strip, green on a second. The positives are mordanted ; that is, they are treated so that they have the property of absorbing certain dyes. Both sets or mordanted positive are transferred to the same side of a new film, the red positive having been dyed green and the green red. As paper takes print, so the gelatine, when pressed against the dyed film, takes the dye. There are many disadvantages (Read Pitkin and Marston) but the film can be shown on an ordinary projector. Multicolor primaries are blue and orange-red. Any standard camera can be used for Multicolor if a special attachment and magazine are bought. Two films are placed 405