Close Up (Mar-Dec 1931)

Record Details:

Title:
Close Up
Date:
Mar-Dec 1931
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
00037
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:
November 07, 2023
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CLOSE UP ■■'A But the creative invention of the authors was particularly revealed in this new theatre by the construction of its stage. It is composed of a motionless proscenium under which is placed the orchestra and two moving stages, resembling circular rings. The very large moving rings do not turn, like the moving stages, round their axle, but surround the hall and circulate in one or two directions, which can be regulated by the stage-manager according to his wish. Before the eyes of spectators stands a large stage on which pass the above mentioned moving rings that may be able afterwards to disappear under the hall where the scenerv is changed. In such a way one realises the continuity of acting. If we take into consideration that these moving rings possess little circular stages and traps, we can understand the possibilities the constructors of this model gave to the stage-manager for exploiting the movement of actors, extras, scenerv, in every possible manner. The stage gives us the maximum of dynamism : the circulating movement of the rings in two directions, the turning movement of the little stages, which are placed on the rings and the vertical movement of many traps. The spectator " spoiled " by the cinema is looking for satisfaction of his visual impressions, so by ingenious placing of many luminous centres we can exploit in the model of Messrs. Pronaszko and Syrkus the effect of light in the highest possible degree. Light will cease to be an " illumination " for the spectacle and create an " atmosphere " but it will begin to collaborate with the actor and will become the most powerful element of the theatre.* When the efficient motors put in movement the rings and the projectors begin to illuminate, we shall obtain not onlv continuity of acting, but also speedy succession of pictures will resemble in its dynamism a * The luminous performances of Studio Art et Action de Paris and pantomimes of Loie Fuller prove to what curious results we can attain operating with light. How the theatre will look by night. Aspect nocturne futur du theatre. Wie das Theater bei Nach aussehen wird.