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 #:
000146
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:
November 07, 2023
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134 CLOSE UP Dorinlle as Sancho in the French version of " Don Quixote." George Robey plays the part in the English version. Dorville est Sanchn dans la version francaise de " Don Quichotte " et George Robey est son sosie figure pour V edition anglaise. women, as so many fields were then which' now are not. She walked into a post on the Kin emato graph Weekly, and began, from the excellent vantagepoint of a technical paper, her apprenticeship to the oddest trade in the world. She soon observed that there were a good many interesting film happenings in other countries besides America. There was German v, for instance, and there was also Holland, where a small company was making films specifically for the English market. The difficulty of getting information about them suggested to her that the company needed a good publicity manager. She wrote offering her services, and by return — those were the happy, haphazard days — was invited. Her work for this company included, in the end, everything except actual direction. She managed the studio, sold films, travelled everywhere, even getting to the States and selling the first European film. When the company was dissolved, she already knew her way about the film world; she went to Berlin, coming in at the end of the great silent period. She stood over Vaudeville and Motion, and had her fingers in many interesting pies. So far, just the chequered career anvone might have in the Trade. But already she saw in it more than a trade. She grew yearly more convinced that the most important film work was scarcely heard of in England, let alone seen ; but that there were people at home who would be interested,