Start Over

Close Up (Mar-Dec 1933)

Page scan 000103 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 #:
000103
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 95 opinion, it can sometimes be an evil effect, produced by machinery, whereas with other arts it comes from the depths of the soul. An old rebuke which takes little count of what is essential in the dynamics of film expression ! From this pessimistic prognosis, Gregor draws the conclusion that in the film the spiritual component is represented by amusement of the most primitive kind ■ — the material, and far more influential component being profit. At the end of the book the wish is expressed that the film might become the passage of the spirit of art that is to come. The Film Age is the bold and honest confession of a man who' — always referring art to the deca)nng but still existing" standards of culture — defends himself against the suggestive influence of the film. In spite of this, film lovers, who serve the cinema with their artistic strength, should read this book in which the art of the film is denied. I v lara Modern.