Close Up (Mar-Dec 1931)

Page scan 000339 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 #:
000339
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 321 From Pabst's new sound-film, " Kameradschaft." A Nero Production. Cliches de " Kameradschaft," nouveau film sonore de G. W . Pabst. Production: Nero-Film. Aus Pabsts neuem Tonfilm " Kameradschaft." Ein Nero-Film. THE PRELIMINARY OF FILM ART ii Film, Painting and Music. In the already discussed categories of the vanguard film we notice evident analogies with the tendencies of modern painting, the ideas and problems of which are almost fully conveyed within the province of film art. It is a fact worthwhile mentioning that the propagators of such films are prevalently painters. Generally in the theories concerning film art there prevails an erroneous idea that the film has very much in common with painting. These frequent analogies of the film with painting, (met with among many film theorists) though in principle entirely erroneous, have their own foundation, being based on the view that the film as well as painting belongs to the same sphere of optical shaping. Nevertheless a principal and characteristic difference is being overlooked, which has been pointed out by Moholy-Nagy in his essay Noch einmal die Elemente (Once more the elements), wherein he confirms the simple and, as it would seem, evident truth, that while painting either absorbs or reflects light by means of colours, i.e., that an indirect form of optical shaping, in the film, contrary to this, such form is direct and beside the direct optical shaping the shaping of motion takes place also.