Close Up (Mar-Dec 1933)

Page scan 00065 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 #:
00065
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 57 " Mirages de Paris." Decor by Andreyev and d'Agnettand. Photo: Film Pathe-Natan. " Mirages de Paris." Decor d' Andreyev et Agnettand. Photo : Pathe-Natan. Mirages de Paris. Dekeration von Andreyev und d'Agnettand. Photo : Film Pathe-Natan. In 14//; July (a good commercial title, with little bearing on the content) he reveals that he has arrived at complete mastery of this graceless material called film. Love of Jean (Georges Rigaud) and Anna (Annabella, who has never been so tender and so charming) ; friendship of his friend (Raymond Cordy, who once more is a truculent chauffeur), and the intervention of a sort of dens ex machina, Paul Olivier (who plays one of those distinguished tipplers, and who, remaining quite unreal, achieves a charm of unspeakable reality). Finally the vamp (Pola Illery) and her two accomplices, two luckless ruffians (Raymond Aimos and Thorny Bourdelle). We know from the start that Jean and Anna will have to demonstrate proofs of their love, that the vamp, Pola, will do her best to make a mess of them, and that all will end well. But that is not so important. What is important is the almost supernatural life with which Clair invests these puppets. Yes, we say, Clair is a great poet ! Critics will possibly say he is influenced by Chaplin, by the Marx Brothers — it is possible. Personally my opinion is he is influenced by the poet, Rene Clair.