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 #:
000347
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 323 From " Contact " by Paul Rot ha. One of the few worthwhile documentaries. De " Contact " de Paul Rotha. Un documentaire parmi les meilleurs. making of the parts and testing, the assembling of parts and testing, and lastly, the final tests in the air. Out of all this he has contrived a beautifully smooth continuity, the separate parts flowing into each other with the precision of the engines themselves. This documentary really makes machines interesting. To my entirely non-mechanical mind the entire process of engine construction, as presented by Elton, made a fascinating spectacle which completely avoided boredom or over-repetition at any stage. Elton has in this film conformed to the E.M.B. tradition of dramatising the men who make the machines equally with the machines themselves. He will devote as much footage to the face of a mechanic as to some intricate piece of machinery. His success in this is complete. The intense concentration of the workers in that Slough factory as they fashion the deiicate parts for the engines is photographed and subsequently cut into a unity of man and machine. This recognition of the human element, of the absolute indispensability of the worker, is a gratifying feature of most E.M.B. productions. B