Close Up (Oct 1920 - Sep 1923)

Page scan 00038 from Close Up

Record Details:

Title:
Close Up
Date:
Oct 1920 - Sep 1923
Volume:
Close-Up (1920, 1921, 1922, 1923)
Leaf #:
00038
Language:
English
Collection:
Switzerland, Early Cinema, and Global Cinema
Format:
Periodicals
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
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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16 CO u-r -2^ Bright Hints For Human Beings By MARSHALL LOR1MER GOING OFF Biff, Bing, Bang! A shot through the house rang; Aga n many shots rang, Bing, Biff, Bang! Footsteps were now heard, Yet no murder occurred. Bing, Biff, Bang! Shots whistled and sang, The footsteps were near now — Bang, Bang, Wow! Above the shots a yell, The object staggered and fell. Biff, Bing, Bang! As if it were a gattling gun, As /if it were more’n one — Above the roar someone was weeping, Like a chill the sound was creeping. Now to end this awful story, It would make you feel sorry For the poor guy who lost His all, pa d the terrible cost — He lost his “life,” that’s all true, But his “life” was only home brew. — Carlyle Lansford. CONGRATULATIONS, LOUIS GASNIER Beyond the fact that its star is one of America’s most representative actors, that it is the story in which he won greatest fame upon the stage, and the masterpiece of one of the greatest living playwrights, the Robertson-Cole production of “Kismet” with Otis Skinner claims distinction because of the tremendous fashion in which it has been produced. “Kismet” was shown to the trade at a special performance given on the evening of Monday, October 25, in the grand ball room of the Hotel Astor. Few spectacles in the history of motion pictures have offered the exhibitor attractions such as “Kismet” is from the standpoint of lavishness, color and far-flung detail. A reproduction of the ancient city of Bagdad was only one of the tasks of Gasnier, the director, and his large staff of architects, costumers, artists, electricians and other technicians. The making of “Kismet” was a vast undertaking, one which took the entire summer, and came to a close a few weeks ago. DOROTHY MORGAN A Clever Ch id Actress The Brunton studio lot boiled with excitement for a few minutes the other day. Ben Hampton’s production staff, assembled to prepare for the filming of their next feature, “There Was a King in Egypt,” gathered around a small, mild appearing gentleman who had just been notified that there was no vacancy for an archaelogical expert. “Gentlemen, I know where you may procure some very fine whisky at two dollars a quart!” he announced. “Where? Where? Where?” boomed an eager chorus. ' “Right down on George street, number 25.” “George street? How do you get there?” came a thirsty, gasping, composite shout from the multitude. “Take the train to New York, and the boat to Liverpool. George street is in London!” TO GLADYS In good time to welcome Gladys Brockwell under the Pathe banner as heroine of “The Sage Hen,” come these verses from a very discriminating English admirer: There’s film stars great, and film stars small — It would be hard to name them all. And some are bad, and some are good And seme that WOULD act, If they COULD. There’s some try “stunts” in search of fame, But I know ONE who ACTS — her name Is Gladys! And most AMAZING things they do. Things that would puzzle me or you. So long as they are an attraction. It seems to give them sat sfact'on. I guess they think it’s awful fun To leave the ACTING, all to one — That’s Gladys! Their pictures have no rhyme or reason. It’s nothing more or less than treason. How bathing girls in dramas get, I never have discovered — yet. The question that is puzzling me Is “Do they ever go to see My Gladys?” MOLLY MALONE ENGAGED TO PLAY IN PECK FILM Nate Watt has engaged Molly Malone to appear in a leading feminine role with Jackie Coogan in the forthcoming “Peck’s Bad Boy” film now being made at the Louis B. Mayer studios. Miss Malone was loaned the Peck Company by Goldwyn. She will work opposite Wheeler Oakman, who is also cast for an important part in the new picture. Larry Semon has written a book entitled “When a Man Forgets.” — And we add, “He’s Got a Lecture Coming to Him.” Mahlon Hamilton says the weather may be a bit cold, but your wife can make it hot enough for you. Looks as if Willard Mack is trying to out-do Kid McCoy. ORA CAREW SELECTED Ora Carew is the latest screen luminary to sign with Metro. Miss Carew has been engaged to enact the leading feminine role in the all-star production of “What Is the Matter With Marriage?” upon which production will start in about a week at the Metro studios in Hollywood. Dallas Fitzgerald will direct the picture. PLEASE PATRONIZ E— W HO ADVERTIS E— I N “CLOSE-UP