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 #:
00022
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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a " living inheritor," who with its aid has made himself a redoubtable expert in his particular branch. In the plan for the general course the expert must be invited to deal with the definite, concrete case, with the particular stage in the evolution of the creative process where his knowledge is of value. All this refers to the production of a really big thing, conscientiously carried out from beginning to end. For this purpose we bid good riddance once and for all to the system of displaying studies made by students who have completed their training — clumsy, unequal productions, as short of intelligence as they are short in length. This system must be abandoned as utterly futile. The art of film-making does not consist in ingenious choice of a cadre or in unexpected abridgments. The essential thing in a film is that every item of the picture should be an organic part of an organically conceived whole. The pieces made bv the students ought to be organically conceived and photographed parts of one big, significant and general conception, and not strav, unrelated studies. By these several photographed pieces and by the episodes preceding and following them which are set but not photographed, as well as by the