Close Up (Mar-Dec 1932)

Page scan 00050 from Close Up

Record Details:

Title:
Close Up
Date:
Mar-Dec 1932
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
00050
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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44 CLOSE UP People are either of different opinion or thev know all these problems too well. This seems to be the chief reason why G. W. Pabst's new film did not gain the success which had been prophesied bv the critics. * * * Moreover, another pacifistic film — although it treated its subject more superficially and optimistically, was no more successful : The film No-man'sland by the new director, Victor Trivas, founded on an idea by Leonhard Frank. Here no-man's-land consists of devastated ruins between two trenchlines. Assaults and artillerv-fire have swept together five men : A Frenchman, a German, a wounded English officer, a negro and a Jew, whose uniform has been burnt and whose tongue has been paralyzed. Dependent on one another soon they get into difficulties ; not understanding each other's language soon a thorough misunderstanding arises. Onlv the negro, a cabaret artist who mangles all languages laughs cheerfuUv and makes peace — until this idyll in No-man's -land rouses the suspicions on all fronts and the canons of all the protagonists bombard this personification of peace. " No-man's-land." A Resco-film by a new director, Victor Trivas, founded on an idea by Leonhard Frank. Photo : Central-Film, Fett & Co., G.m.b.H. " No-man's-land," iin Resco-Filni realise par iin nouveau directeur : Victor Trivas sur une idee de Leonhard Frank. Photo: Central-Film, Fett & Co., G.m.b.H. " Niemandsland, Bin Resco-Film des neiien Regisseurs Victor Trivas. nach einer Idee J,eo7ihard Franks. Photo : Central-Film, Fett & Co., G.m.b.H.