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 #:
000127
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 115 " The First Right of Children " (From the Diary of a Womandoctor), a DeutschesLicht spiel Syndikat Film. " Le premier droit de Venfant " (tire du Journal d'une doctoresse) un film Deutsches LichtspielSyndikat. At the moment when resolute action is necessary, he stays his hand. Simply from weakness of will. However, before his inward "failure," he succeeds in exciting in Roberta, the girl, such a feeling of terror, that, when he bends over to her, alreadv vanquished and ready to abandon his design, she jumps awav from him in alarm. The boat rocks and threatens to overturn. When, as he is trying to support her, his camera accidently grazes her face, she finally loses her head; in her terror she stumbles and falls and the boat capsizes. For greater emphasis we make her rise to the surface again. We even make Clyde attempt to swim to her rescue. But the machinery of crime that has been set in motion continues its work to the end — even against Clyde's will : with a faint cry of horror Roberta starts away from him, and, not being able to swim is drowned.