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 #:
000186
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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174 CLOSE UP of striking angles in Variety. It is doubtful whether Rouben Maumoulain's much-vaunted Love Me Tonight would have been what it was if it were not for Sous Les Toits de Paris and Le Million. Monta Bell's This Is The Night owed whatever grace and " originality " of expression it had, also to Clair. It was natural then for Hollvwood to cast lon°"in£>' eves at this brilliant m O O Frenchman, with offers made to him to come to America, just as it was amusing to see a " Rene Clair cult " spring up among the Hollywood directors, who had been wallowing in a rut of stereotyped film cliches ever since the advent of the talking film in America. But Clair has refused to come to Hollywood, feeling that he can work more freely in his native France. Clair, curiouslv enough, feels that the cinema is an art, while Hollywood regards it only as something to be exchanged for money paid down at the box-office. Clair's refusal to come to Flollywood is significant of the man and his work, " using comic image, both of sound and of the camera, with precision " Ecstasy," film by Gustav Machaty. See " Comment and Review.'' "Ecstase," film de Gustav Machaty. Voir " Comment and Review.'