Start Over

Close Up (Jul-Dec 1930)

Page scan 000611 from Close Up

Record Details:

Title:
Close Up
Date:
Jul-Dec 1930
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
000611
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 the announcement that The Big House must be seen because it is the first time that real machine guns were used successfully for machine gun noises? If television, which is now at the start, can keep as relatively free and comparatively courageous as radio, the cinema's going to have an awfully difficult time. Because what we put into it won't be there. I already find I am getting more and seeing more out of a three-quarter-postcard-size image of the heads and shoulders of a not-first rate artist singing rather poor songs (usually film hits) in my televisor each morning than I do, say, from HelVs Angels, Check and Double Cheeky Common Clay, and so on. There seems more point in tuning in a televisor, in view of what they already do with such amazingly limited means, than in going out to one particular talkie which will be so well-made (though' not in the main so well-photographed lately), so slick, so amusing, so like all the others that you get nothing at all of cinema. You can only wait for the real film to come, and even Turksih isn't the end. It isn't a " call to live men to search for a new type of picture because that call has been made vainly for years before Mr. Carter ever saw Turksih, We hail Turksih because we recognise it ; we hail television because we recognise in it what the cinema will not do. . . London correspondence ends with' The Silver Horde, remarkable for using the new beam microphone. The stars are Evelyn Brent and a salmon. Robert Herring. 403