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 #:
000375
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

CLOSE VP 351 The Kiyomizu Temple photographed for " Japan in Four Seasons," but not included in the final print of the film. Photo du Temple Kiyomizu qui 11 a pas ete retenue dans la version achevee du film: " Le Japon en quatre saisons." THE EMPEROR JONES It was inevitable that they should make it. The elements to compose a flashing cinema drama as represented in the combination of O'Neill, 1 he Emperor Jones, Paul Robeson, Du Bose Heyward (author of Porgy) and the burning desire of crusaders that marked those enterprising young producers John Krimsky and Gifford Cochrane, were ultimately integrated into their respective component parts. With the financial success of Maedchen in Uniform (which Krimsky and Cochrane presented with such astonishing success in America)* as a spur, they set out to foster art in the cimena with a capital " A." Since Borderline was never shown in America (its theme of miscegnation being tabu here), The Emperor Jones served to introduce Paul Robeson as a screen player. It goes without saying that he was an inevitable choice for the blustering, arrogant Pullman porter, one Brutus Jones by name, who became through his own sheer nerve, king of a little black isle off the coast of Africa (or was it the West Indies). * Since materially curtailed by the boycott on German films.