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 #:
000173
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:
June 20, 2024
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CLOSE 11 " Anna and Elizabeth." Hertha Thiele and Dorothea Wieck. TEACHING MUSIC BY THE ABSTRACT FILM Victorian ancestors, besides having the joys of peep-show movies, also had the Eidophone to beguile Victorian evenings. This " scientific " toy consisted of a membrane stretched across the top of a wooden cup to the base of which a speaking tube was joined. Having sprinkled sand onto the membrane, the operator would speak or sing some clearly enunciated word or note into the tube. Vibrations of air inside the wooden cup set the membrane into motion, while the sand formed different patterns. Different membranes (paper, parchment, fine silk, tin or india-rubber) would produce different patterns for the same spoken word or note. Lycopodium or coloured fluid was sometimes substituted for the sand with' sharply varying results. Again, altering the size of the membrane-disc or the strength and colour of the voice, changed the outline of the design caused