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 #:
000339
Language:
English
Subjects:
motion pictures, Motion pictures -- Periodicals
Collection:
Switzerland, Global Cinema, 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 UP 315 From Paul Rotha's " Contact." Fishermen on the shores of the Sea of Galilee, Palestine. Du film " Contact " de Paul Rotha. Pecheurs sur les rives de la mer de Galilee. In these operettas Ertogroul Muhsin is inclined to work with a stationary camera, a general tendency since the advent of sound ; but, remembering that he is working in film form and not theatre presentation he quite unexpectedly cuts in a good sequence of montage. For example, in the first part of If My Wife Should Cheat Me there is a sequence in which girls are diving and swimming, a sequence in which Muhsin is experimenting along the line of Pudovkin's theory of counterpoint in image and the use of slow motion. At the moment Turkish cinema is governed by commercial ideals because of its competition with Hollywood, and it is a most unfortunate thing that the Ipekci brothers, who are conscious that Turkish cinema must express Turkish mentality, should have their studio in Istanbul, a city without a national character instead of Angora or even Smyrna where the new Turkey is coming into existence. Turkey is certainly leading the East in enlightened thinking, but it can only lead the way to the cinema as a new art of Asia provided that its cinema becomes a positive creation of Asia and not a negative imitation of Europe.