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 #:
000135
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 123 Schulze Versus Everyone." " Schulze contre tons." And how obvious that the material of the sound film is in no sense — DIALOGUE. THE TRUE MATERIAL FOR THE SOUND FILM IS, OF COURSE, THE MONOLOGUE. And how unexpectedly, in its practical embodiment of the unforeseen particular concrete case of expressiveness, this completely harmonizes with the " last word " about montage form in general, which I had long foreseen theoretically : namely, that the montage form, regarded structurally, is the reconstruction of the laws governing the process of thought. Here the special art of treatment, having evolved a completely new formal method, transcends its limits and embraces the theory of montage form as a whole. This, however, does not bv anv means implv that the process of thought as a MONTAGE FORM must alwavs necessarily have as its SUBJECT too — the process of thought. However, Mr. B. P. Schulberg and Mr. D. S. Washington did not allow the " red dogs " (our official nickname in fascist circles) to express B