Close Up (Mar-Dec 1931)

Page scan 000333 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 #:
000333
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 315 Aus " Phillips Radio," einem Film von Joris Ivens. Cliche d e "Radio Phillips," film de publicity de Joris Ivens. From " Phillips Radio " film by Joris Ivens. advantage of their medium by sprinkling lurid sets with gleaming objects and strangely making up their artistes. Definitely, colour will benefit from the triple speed " pan " sponsored by Kodak. It has an amazing sensitivity to red and green. Studio lighting can be reduced two thirds : while it will be possible to photograph colour images without intense illumination. In Cheri Bibi, a close up was taken with only the light of a match. Other improvements with regard to film stock include the promise, by Professor Goldberg, of a practically grainless film formula. It is possible, with Professor Goldberg's film, to reduce the photograph of a book page to an area one-hundredth of a square millimetre and later to re-enlarge it to normal size. Dr. Miller Hutchinson, too, claims that he has eliminated grain without damaging the negative. The limit of frequency recorded on sound films can be raised, by the good Dr. Hutchinson, to more than 12,000 per foot. " The simple expedient of flattening the grain after the picture is taken is the basis of the new process : this is done chemically before the sensitisers are made solid by the hypo bath." Monsieur Lumiere, the veteran film inventor, has been working on metal stock. . . . A lot of new projection gadgets and trick screens have recently been demonstrated. The rubber-like screen was much publicised. A triple layer of porous material formed the older type of screen : there was no clear passage for the sound waves. On the other hand, the single layer rubber screen has about 100 holes to the square inch. James Bryson brought forward a method of splitting the projected image and recombining the two images on the screen. Some jarring yellow rays were held to be removed and grain was supposed to have been diminished. Soundproof portholes for projection rooms were put on the market. A high intensity projection lamp caused a great stir : the arc controlled by a magnetic circuit, the whole brilliance of the arc being concentrated at the most effective optical point.