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 #:
00060
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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52 CLOSE UP Production still from this year's Ufa superfihn — " F. P. One." Production Erich Pommer, direction, Karl Hartl. Une scene de travail dans le film axtraordinaire de la Ufa de cette annee — " /. F. i ne repond pas." Production Erich Pommer, regie Karl Hartl. Werkfoto aus dem diesjdhrigen Spitzenfilm der Erich Pommer, Production der Ufa, " F. P. I. antuortet nicht. Another ground level view across the riot at its height. Short duration. Clamour continuing. 570 2J ins. The arrested picture of 421 : the cleared conglomeration ; Jackson with raised stick. Flash. Clamour continuing. 571 1 in. Ground level view of riot. A flash. Clamour continuing. 572 1 in. And so on. To appreciate the effect of this riot scene some minutes of earnest ratiocination are required, several pages have to be turned to assimilate slowly a blow-of-the-eye which in practice would have fled bv in five seconds. The eye, of course, is quicker than the ear and the tongue (whose leisure we await even when reading to ourselves), and a film is not a moving Tate Gallery, or a landscape album of the Scottish highlands. In the following passage, taken from an experiment in this new form, one may see an alternative method. The action is conceived in terms of cinema, but written down with an eye to verbal effect : The two girls pad on in their silent sand-shoes dowrn the zig-zag towards the bay, first towards the lighthouse, and then away from the lighthouse and towards the Marine Hotel, and then away from the Marine Hotel and towards the lighthouse, and meanwhile Mr. Curtis goes round and round his heap of cement, mixing it all up, and Tomlinson moves down the row of dibbles with the cabbage plants.