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 #:
000168
Language:
English
Subjects:
motion pictures, Motion pictures -- Periodicals
Collection:
Global Cinema, Switzerland, and Early 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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150 CLOSE UP George Kraska and Erica Karazcina, art designer, in the Garden Fantasque of the Boston Fine Arts Theatre. Photo : Herbert F. Lang. George Kraska et Erica Karazvina , dessinateurs d'art, dans le jardin fantastiaue du Theatre des BeauxArts de Boston. Photos : Herbert F. Lang. helps to lessen the feeling of gaucherie, polishes off the accent and makes it a thing of ease and delight rather than a stammering, rustv mumbling. The instructor has, by the war, seen the film several times before Thursday to insure a perfect tie-up. It might almost to said that he works in the same manner in which an orchestra leader synchronizes his music with the feature. Although Kraska studied careful lv all the statistics of attendance, although he has watched the increased interest shown in foreign films, he tells an incident which is in a large way responsible for the germ of the idea which has made these classes come into successful being. During the playing of Zwei Herzcn he noticed one woman who attended every performance. She never failed to be at the box office at opening time and stayed until closing, going out for a lunch and paying a second admission on her return. Mr. Kraska was interested enough to ask her the reason for her constant attendance and was told that she, an American, could find no better way to keep up her German. She was in no way eccentric as one might expect from the unusual nature of the incident. At the close of the picture's run, this assiduous student gave a cop} of the complete plav to Mr. Kraska. She had written it out just from listening. With such positive proof of the derivation of knowledge, there was nothing for the manager to do but to work out a plan that would give benefit to manv others seeking similar linguistic prowess without spending as much time or monev either for that matter for these classes are all included under one admission price !