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 #:
000162
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 The reader will have noticed that the table given above has no place for a very important type of film material. This is " news-reel " events. The omission is due to the fact that the table assumes the visual significance to sharpen, as the intellectual significance diffuses. For most material this is true, but it is a unique property of the camera and microphone that they can obtain material which is not subject to this restriction, provided that the audience know that the camera or microphone has been used. In some respects the property of " reality " corresponds to the use of slow motion, in that it is used in relation to material existing outside the screen, and is meaningless if this material does not exist. As the question is of interest and importance, and does not directly concern construction, it will be treated in outline here. There is, to an audience familiar with the camera, a considerable difference between a shot of a man being run over by a car, and a shot of the reconstructed event with actors. Both events are, of course, natural events, or they would not have occurred, but the term " natural event " will be limited to an event not specially arranged for the camera. For these natural events, and in general for any film constructed on the principles of Dsiga Vertoff's " Kino-Eye," the camera can justly claim to be indispensable. For anything else the camera is irrelevant, for, leaving on one side the Helen Hayes in Paramount' s " FareiveR to Arms!" From the novel by Ernest Hemingioay . Helen Hayes dans un film Paramomit apres V oeuvre de Ernest Hemingway, "Farewell to Arms."