Close Up (Oct 1920 - Sep 1923)

Page scan 000367 from Close Up

Record Details:

Title:
Close Up
Date:
Oct 1920 - Sep 1923
Volume:
Close-Up (1920, 1921, 1922, 1923)
Leaf #:
000367
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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s Moving Along In Movie-Land CHUNG CHOW INN— Hollywood’s newest eating house and dancing palace. Ben Light and his orchestra have been thrilling some of the biggest of Kleig Light artists. The food, both Chinese and American, is very good. Might try it. DINTY’S CABIN— The hall of corn beef and cabbage. Hollywoodites often drop in for a glass of cold near beer. SUNSET INN— The high-brow dive of them all! The most formal haunt of the picture people, and yet it is the most informal — if you know what I mean. Max Fisher and orchestra continue to please the many cash customers. This plac^ will close for the fall, so you’d better hurry. THE SHIP CAFE — Still sailing gaily over the waters of good times, steered by George Collins, who knows his stuff in the ocean of entertainment. Snell-Hgihsmith-Conklin supply the dance tunes. HOLLYWOOD STADIUM — Walter Long is proving his ability every Friday night as a good fight stadium manager. Tom Kennedy is a fine matchmaker too. Well, boys, here’s to you; you’ve been handing out some mighty good stuff lately. Keep up the good work. BRING ON THE MOON— Awfully hard to do any work with all the wonderful moons and moonshine around. I can see a nice drive ahead right now, and then there’s Coronado for the week-end. This is a mean job at that. Well, since I got my K. K. K. letter I should worry. See you in the next issue. Seven High Class Bouts EVERY FRIDAY NIGHT In the Airiest Boxing Arena in the West Hollywood Legion Stadium El Centro, Off Hollywood Bird. ’Phone Reservations — Holly 102 MAKE FACES SAYS DALE If you would become a character star on the screen, start in when you’re a youngster and make faces at yourself in the mirror. Make ’em at your school teacher or your Sunday school superintendent, or the policeman on your block, if you are sure he or she isn’t looking. It’s all good practice. So says Dale Fuller, character star in Rupert Julian’s “Merry-GoRound,” who since her screen career has hade to make all srrts of “mugs” in portraying complex roles in big productions. She is recognized as a mistress of the art of delineating intense character parts. Dale began her career on the stage atnjd then became comedienne with Mack Sennett. Later Eric von Stroheim discovered her dramatic talents in “Foolish Wives” and from then on she has been in demand for character roles in the bigger productions. Her most recent work has been with Eric von Stroheim in “Greed” and with Rupert Hughes in “Law Against Law.” Fred Caldwell is making “The Cream of Hollywood.” Sounds like a milkman wrote it. * * * Tenny Wright is directing “Tango Trails.” The musical score will probably be “On the Trail of the Lonesome Mama.” MELBA BROWNR1GG A Reel Type MABEL NORMAND ENTIRELY RECOVERED One of the most enthusiastic members of the large and well-pleased audience which witnessed a preview of Mack Sennett’s latest screen classic, “The Extra Girl,” directed by Dick Jones and starring Mabel Normand, was the little star herself. Miss Normand’s appearance at the theatre was somewhat of a surprise to those who saw her, owing to the recent announcement of her mishap and accident while horseback riding. Despite the fact that her collar-bone was broken when she was thrown from her horse, Miss Normand was bright and cheerful as ever, looking very pretty and showing no ill effects whatever from her injury. The splendid reception and loud applause accorded the presentation of “The Extra Girl” was a gratifying tribute to the genius of those responsible for its creation and who, unknown to the audience, were seated among them. If the plaudits of “The Extra Girl” audience are to be considered as a criterion from which to judge future showings of the production, it would appear that the popularity of this latest Mabel Normand vehicle is a positive assurance. From an original story written and adapted by the producer, Dick Jones directed one of the most wholesome and humanly appealing plays with a big, commanding moral, that has come to the screen for a long, long time. Witzel Los Angeles Leading Professional Photographer 828 South Hill St. Phone 62448 6324 Hollywood Blvd. Holly 343