Close Up (Mar-Dec 1931)

Page scan 000318 from Close Up

Record Details:

Title:
Close Up
Date:
Mar-Dec 1931
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
000318
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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300 CLOSE UP " Great City." A Shoshiku Production. " La Cite geante," film de la production Shoshiku. Groszstadt." Shoshiku Produhtion. THE FIRST RUSSIAN SOUNDFILMS Berlin, October. We have had to wait for them till now. For many months, more and more news had come, stating that this or that well known Russian director had begun to work on his first sound film. Pudovkin among the others. But this news always dwindled, or suddenly it was said that the film which had already been discussed would be issued as a silent one, contrary to rumours. Obviously they have had considerable difficulties with regard to technique. Soundfilm apparatus and soundfilm patents could not — in spite of their significance in cultural matters — be counted among the necessary machines for production and the raw materials for which money was provided according to the five year plan. The equipment for production of soundfilms had to be built, developed and finished in all details, no matter how difficult, according to Russia's own ideas, her own experiences, with her own means in her own workshops, within her own Russian foundries. As a basis, the four-year-old experiments of Tager and Schorrin were used. Improvements, constructional changes and ways and means were