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 #:
000251
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 233 Old Tibu Guide in " Nomads of the Desert " by Hans Casparius. Vieux guide tibou dans " Nomads of the Desert " par Hans Casparius. and composition in editing, whereby the inter-relations of these pieces are governed, have fundamentally changed the character of the demands made upon the " actor." (I have set the word in quotes because in its application to the film it should be replaced by some more appropriate expression — I prefer " human material "). In the first place, the whole necessity explained at the beginning of this essay for an actor to employ a special technique of exaggeration of sound and movement is now discarded. The work of emphasis and of expressive treatment is taken over by the camera, in approaching or receding, in altering its set-up. Secondly, all that has been said of the necessity for the actor to seek and fix in himself the entire appropriate image — goes also in the discard. The camera, too, takes on the work of fixing the emotional moment ; the negative the work of preserving it ; and the work of constructing