Close Up (Jul-Dec 1930)

Page scan 000614 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 #:
000614
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 Images d'Ostende, the modest director admitted, had enjoyed some success. Only, he thinks, because it is a souvenir of his childhood : a record of the walks he took as a child. " I wanted to show the friendship and life in dead objects; the wind rocking* the chair, the sea moving the sand. Do you think that will be realised by the cineastes at the Congress ?" If,'' I replied, you have been able to put life into dead objects — during those sentimental walks of childhood — I feel certain you can put life into dead celluloid.'' An English trade paper had reported that the Belgian Nord-Film will shortly produce Le Carillon de la Liberie, I asked Storck whether he would work for them. He shrugged his shoulders. He would like studio experience. There was a magnificent studio outside of Bruxelles. No lilm had ever been turned tliere. The Nord Film had not yet begun. He shrugged his shoulders. Dekeukeleire cuts in a tiny room and works witli a hand camera. He, Storck, would next make an advertising short for an auto firm in exchange for a car. As for the story film. . . I returned to my Le Soir, I cast a guilty eye to see whether there was an exhibition of Edible ^Mushrooms and Poisonous Fungi "j a Belgian festival which, my guide book assures me, must never be missed. (I trust my guide book. It is capable of sheer magnificence. It bursts into modern art criticism about Wiertz : " The interest he still evokes lies as much in his pathology as in his pigments and it is best that one should simplv regard him as a baroque pearl in the regalia of the world's art.") Of course I-am-going-toBruxelles-to-see-films. 406