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Close Up (Jul-Dec 1930)

Page scan 000612 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 #:
000612
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 IT HAPPENED IN BRUXELLES . . . " I am going to Bruxelles," I repeated to myself after reading in the Daily Express tliat the Scheldt had risen ten feet in an hour, to see films. I must forget what the sea looked like when I stepped off the quay at Dover. I must forget that I had tea in a mental cafe at Ostende ; blinds half drawn and light at a halt, neither coming or going. In other words I must not for a moment think that I am writing Star Dust in HolJyu'ood/^ Yet Bruxelles seemed a film city when my taxi took me to the hotel. (The driver driving with one hand and winding up the meter with the other. Later, I decided that he must be the comic relief and gave him a tip.) As a stranger I was amazed at the frozen close ups, the busts of holy men. Moreover, my guide book, on consultation, drew, like a patient schoolmaster, mv attention to whole frozen long shots : Slave Attacked by Dogs bv Semain. I-am-going-to-Bruxelles-to-see-films. I obtained Le Soir. The cinemas were " passing " Le Spectre Vert (French talkie made in Hollywood), Troika, Nuit d^angoisse and The Blue Express (at the avant-garde cinema in the Palais des Beaux-Arts which has been open two years and reports grand success with Chien Andalou and 404