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 #:
00082
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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BEGINNING OF THE YEAR IN GERMANY Berlin, January, 1933. The Berlin daily paper Der Deutsche is not verv likely to have a large circulation. It is certainly neither too popular nor very important in any respect. It has a limited, but steady number of readers, and maintains the temperate attitude of an official gazette. In this quality of an official organ it serves the christian trade-union. Its editor is perhaps the busiest newspaper scientist of Germany ■ Professor Dr. Emil Dovifat, the director of the Berlin University Institute of Journalism. For some years (since 1924) this paper — having previously held little influence — has been of interest to the film observer. Every New Year's issue contains the question : " Which film impressed you most last year?" This question is put to a comparatively great number of people in Germany and abroad — to people working on the film, to authors, artists, journalists, instructors, to organisations and firms of every kind and tendency. This time nearly 300 answers have been sent in, among which is Mussolini's as well as the answer of Oskar Tietz, the German competitor in the 6 days' race. The total circulation of all the papers whose film critics have stated their opinion is more than millions. Most frequently the film Der traumende Mund (The Dreaming Mouth) was mentioned — the work of Paul Czinner, with Elizabeth Bergner playing the leading role. Second came Les Croix des Boix by the French director, Raymond Bernard. One need not overestimate this voting, for its importance is lessened by the fact that the various participants in all parts of the world cannot have seen the same films within the same space of time. But vet it remains remarkable and convincing, that every year films which doubtlessly mean an achievement, are victorious : Two years ago it was Sous les toits de Paris, last year it was Madchen in Uniform, and now it is Der traumende Mund. It is evident that this is not merely by chance. Once only, but by one of the cleverest German critics the film Unmogliche Liebe (Impossible Love), and the name of Asta Nielsen were mentioned. I don't know really whether this means anything to England and the Anglo-Saxon countries, or not. Even in Germany her name has been almost forgotten, although about 25 years ago only, it was Asta Nielsen from Denmark who — by her ardent endeavours after serious film dramatism — began the struggle for artistic films, a struggle which is still going on. What she did was done for Germany, for Europe, for the world. And the laurel wreath she was given by the " Dachorganisation der Filmschaffenden Deutschlands EV," rightly bore the dedication : "To the first genius of 74