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 #:
000175
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 163 " Anna and Elizabeth." THE MAKING OF THE RUSSIAN " STAR " Most film stars have been made by the genius of a Lubitsch or a Sternberg, men capable of moulding an entirely new personality onto people whose potentialities for the field of stardom attracts their attention. Thus the star is so often the creation of a superimposed imagination, while they yet preserve, or cultivate a facade of being a concrete and original personality. The American star, with few exceptions, is visualized in the terms of being an investment which in course of time will double and treble the initial outlay spent in creating this synthetic entity — this new face, this unfamiliar figure and these hitherto unsuspected charms. The concentrated energy and thought which may have been spent on a voung woman in preparing her for her comet like appearance in the Hollywood sky is undertaken with an eye to a fair run of popularity, and the greater her success,