Close Up (Mar-Dec 1933)

Page scan 00062 from Close Up

Record Details:

Title:
Close Up
Date:
Mar-Dec 1933
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
00062
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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54 CLOSE UP Annabella in Rene Clair's latest film, " 14th July." Photo: Tobis. Annabella dans le dernier film de Rene Clair : " 14 Juillet." Photo: Tobis. Annabella in Rene Clairs letztem Film " 14. jhdi." Photo : Tobis. THREE PARIS FILMS Chance willed that two films with the same theme : Paris were presented on the same daw One was 14//; July, by Rene Clair, the other Paris Mirages, the first comedy of Fedor Ozep, director of The Yellow Ticket, The Brothers Karamazofj, etc. Both show a special aspect of this eternal city, both abstain from partizanship. The cinema to-day suffers from a crise de courage. Talented directors spin old stories which can mean nothing" to us unless for special reasons. Clair and Ozep are not the only ones. All directors who know their job have no courage to say what they think. The case of Fedor Ozep is perhaps apart. For the first time in France (after having made a French version of Karamazoff he was allowed bv one of the big firms to make a film after his own scenario. (The idea of the scenario is, incidentally, that of Victor Trivas, maker of No Man's Land, so I hear). But, given permission, difficulties began. Fear on the part of the producers of upsetting the French temper if this fantasy on Paris were