Close Up (Jul-Dec 1930)

Page scan 000616 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 #:
000616
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 Down little streets (pardon me, Mr. Buyse) down sinister little streets. Through the grimed door of a too-HoUywoodunderworld cafe. AND . . . Berna, one of Eisenstein's operators on The General Line, making a film in a backroom. It is the Praesens Film Company from Zurich working with Belgian artistes. The Praesens Film Com.pan^' sponsored L'Appel de la Vie, the film of Tisse which was banned. Turned (one recalls) in the Swiss maternity home. Somehow, the Praesens Company seems brave and independent. (Brave — after the backroom.) Is it not that half the world does not know how the other half of Bruxelles lives? I had found (past tense, present tense, future tense : the patchwork of continental organisation) a company in production. The cineastes had not known of it ! Monsieur Lucien Fran9ois, one of the actors, offers information to the PRESS. The name of the film is La Fosse Ardente, Directed by Rigo Arnould (who addresses me from the distance in perfect English). There is a big mine explosion in the film. It will be, indeed, a super. A month to turn. They are all so nice (the Praesens Company and the Belgian artistes). Buyse makes pleasant jokes about the conditions. Soon, he will have a similar studio. He will turn Gold : the story of a chemist who discovers the alchemist's secret. His son will be cameraman. What, I did not know that he had already made two films himself? He beams. He has been so busy telling me of the films of his friends. A document on Bruges and Depths of the Sea, a full length drama. Just Maes, of the Royal Flemish Theatre, 408