Close Up (Jul-Dec 1930)

Page scan 000617 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 #:
000617
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 was star of the Depths. Exteriors were shot at St. ^larguerite, the same location as the Praesens Company is using for the EXPLOSION (SUPER FILM) ! We drank, Buyse and I, coffee in the Hollywood cafe. We treated the violinist to a coffee. He played twice as fast because he could not play twice as well. I liked Buyse. I wished him success. I have only seen a fragment of his film on what was once a piece of blotting paper. Past tense, present tense, future tense. I must rest in my room. Think out some cold theory. Or read the guide book. The Belgians have a sweet habit. They pull down their public buildings and rebuild them when the next man comes into power. It is a nice gesture. . . A knock on the door. "The guide book slips from my nerveless fingers." Dekeukeleire, with his latest film. The White Flame and a hand projector. Naturally, I am delighted. The director of Impatience and The Boxing Match would show me his latest film written by Rombaats who is a critic on a Flemish paper. Enchanted, monsieur. . . A political meeting. A young man hits a gendarme. He flies to his home. He sees ice, sees more clearly. He realises that the revolution is in himself. He rubs his face against the hide of a cow (contact with the earthy things and creatures). He allows himself to be arrested. Dekeukeleire puts on the third reel of the Histoire du Detective, An apple ballet. Done by cutting. Movements of the ballerina and the chorus boys. . . Some of it 409