Close Up (Mar-Dec 1933)

Record Details:

Title:
Close Up
Date:
Mar-Dec 1933
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
00013
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:
November 07, 2023
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CLOSE UP 5 Pudovkin (left), instructing a class at the State Institute of Cinema. Pudovkin (a gauche) donne des lecons d Flnstitut d'Etat du Cinema. Pudovkin (links) beim Unterricht irti Staatlichen Filminstitut. Who, finally, has not pictured to himself the sudden ecstasy kindled in the mind of the " fat nigger," Dumas, as, with one eagle glance, he embraced the future framework of the novel in all its details and subtleties . . . with the title, " The Count of Monte-Cristo " blazing on its front? And yet . . . how stimulating and pleasant to be able to recognize, by the taste, the cookery with the aid of which such a remarkable composition was elaborated. To realize that the work was the outcome of brutal assiduity and not of divine illumination. It is, in fact, nigger's work — but not the work of the fat, lazy nigger, Dumas. It is toil worthy of a negro labourer from the plantations. Dumas was actually sprung from negro natives of Haiti, like Toussaint L'Ouverture, the hero of our coming film, " The Black Consul." The nickname of Dumas's grandfather, General Thomas Alexander, was " black devil." And " fat nigger " was a nickname bestowed on Dumas by rivals and other envious persons. A certain individual, who concealed his humble baptismal name of Jacquot beneath the pompous appellation, " Eugene de Mirecourt," wrote of Dumas : " Scratch Monsieur Dumas's side and you will find a savage . . . He breakfasts on a burning-hot potato, taken straight off the fire, and devours