Close Up (Mar-Dec 1932)

Page scan 000289 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 #:
000289
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 271 Eric Waschneck's film, " Eight Girls in a Boat" the first Fanal-Terra Film. " Huitfilles dans iin bateau," par Erick Waschneck, est le premier film Fanal-Terra. Erich Waschnecks Film " Acht Mddchen in einem Boot," Der erste Fanal-Terra Film. horror ? Is there really a fool born every minute, and how long can the movie wait till he grows up, or shall it get him while he is still wrong ? The big companies are choking to death. They are afraid. Five-star Grand Hotels are not heroisms but steam-whistling in the dark. The socalled independents, " indies," working on little, not obsessed with stars and salaries (actors can be got cheap) have the opportunity to make good films and market them. And what do they do? The same old stuff; they take none of the risks of independence. Every one is scared ! At last the movie, being a topical medium too, must recognise the " depression " as subject-matter. The audience is lured to see a film pretending to tell the truth and they are shown another picture on the glib studio formula, American Madness. With a grand flourish this film opened at the Mayfair. There were spotlights on the theatre but not a flashlight on the truth'. Bank runs are caused by a $50,000 robbery augmented, in public rumours, to 50 times the amount. Loans to banks and factors — they will dissipate the crisis; is this film the work of the Reconstruction Finance Corporation ? Faith in character, and the love of woman — these would D