Global Cinema Collection (1904-1957)
The history of media is a global history – involving the exchange of workers, styles, and technologies across national borders.
French publications, such as Cine-Journal and Cinéa, reveal the important contributions of French filmmakers to film history. However, these French periodicals also contain advertisements for American films and demonstrate the popularity of certain global stars, such as Charles Chaplin and Sessue Hayakawa (both of whom had careers that criss-crossed national borders).
Some publications themselves were transnational creations. American and Canadian film enthusiasts were among the readers of Home Movies & Home Talkies, the British magazine for amateur filmmakers. Meanwhile, J.P. Chalmers—publisher of the American trade paper Moving Picture World—also published Cine-Mundial for the Spanish language market.
As a global history, media history has also been greatly influenced by the course of international events. The increased number of American film advertisements in Cinéa (1921-1923) compared to Cine-Journal (1908-1912) speaks to the global market dominance of the American film industry that occurred due to the devastation of European lives, economies, and film industries during World War I (1914-1918).
The Italian journal Cinema championed film as an art form, and it contains articles by future art cinema icons, such as Michelangelo Antonioni. However, no film or publication exists in a political vacuum. Just look at the masthead and see the name of Cinema’s editor-in-chief: Vittorio Mussolini, son of the nation’s dictator Benito Mussolini.
European Film Industry – General
Filmatheque Pathé-Baby (1931)
La Cinématographie Française (1937)
La Revue du cinéma (1928-1929)
Der Kinematograph (1907-1908)
Filmkuenstler: wir ueber uns selbst (1928)
Filmland:deutsche Monatschrift (Berlin) (1924-1925)
Film-Magazin Vereinigt Mit Filmwelt (Berlin) (1929)
Film-Photos wie noch nie (1929)
Universal Filmlexikon (1932-33)
Cinema (Rome) (1939-1940)
Spanish Language Publications
Mensajero Paramount (1927-1938)
British Kinematography (1949)
The Cine Technician (1935-1956)
The cinema and the public; a critical analysis of the origin, constitution (1934)
Cinema Quarterly (1933-1935)
The Cinema News and Property Gazette (1912-1946)
Documentary News Letter (1940-1949)
Film and TV Technician (1957)
The Filmgoers’ Annual (1932)
Home Movies & Home Talkies (1932-1934)
Illustrated Films Monthly (1913-1914)
Minutes of evidence taken before the Departmental Committee on Cinematograph Films (1936)
The Optical Lantern and Cinematograph Journal (1904-1905)
Pictures and the Picturegoer (1915-1937)
Weekly Kinema Guide: London Suburban Reviews and Programmes (1930)
World Film News and Television Progress (1936-1938)
Close Up (1927-1933)
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 accomplished female modernist writers, 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 books, CLOSE UP continues to be essential reading for anyone interested in the history of film and media theory. — Eric Hoyt, 2014
CLOSE UP was scanned and sponsored by the Library of Congress Packard Campus for Audio-Visual Conservation. Beginning in 1931, the magazine changed formats from a monthly to a quarterly periodical.
Jul-Dec 1927. Vol 1 | Read | Download | IA Page
Jan-Jun 1928. Vol 2 | Read | Download | IA Page
Jul-Dec 1928. Vol 3 | Read | Download | IA Page
Jan-Jun 1929. Vol 4 | Read | Download | IA Page
Jul-Dec 1929. Vol 5 | Read | Download | IA Page
Jan-Jun 1930. Vol 6 | Read | Download | IA Page
Jul-Dec 1930. Vol 7 | Read | Download | IA Page
Jan-Dec 1931. Vol 8 | Read | Download | IA Page
Jan-Dec 1932. Vol 9 | Read | Download | IA Page
Jan-Dec 1933. Vol 10 | Read | Download | IA Page