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 #:
000248
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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230 CLOSE UP Count Almasy and an old Tibu guide in " Nomads of the Desert " by Ham Casparius. Le comte Almasy et un vieux guide tibou, dans " Nomads of the Desert." less and less necessary for the spectator to seek and visit a work of art, for the work of art itself sets out to visit him. Let us now return to see how this affects the work of the theatre actor. We have shown above that the technique of the modern theatre involves numerous repetitions of the same performance. In consequence the actor not only has to create a given image, he has also to fix it in himself, so as to be able to repeat its performance many times. Examine for a moment the main features of his work. An actor is working on his part. He has to discover the appropriate form for some given moment of his stage behaviour. It is obvious that a man can in no circumstances reproduce something with which he is utterly unfamiliar. A man who has never cried or seen anyone else cry could not possibly cry either naturally or artificially. However complex the character he is portraying, however fantastic or conventionalised its type,