SERGEI M EISENSTEIN

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The Phenomenon of Cinema (Historyofthephenomenon)* “Frames”andthemethodofcinema. 7 Fromthemosaictopointillism. Adynamicjuxtapositioninsteadofmixingtogether. DaumierandTintorettoinmicro*. Goya,ElMaragatoinmacro*. Hogarth,Mariageà-la-mode*inscenes. 8 Cockerels 9 Ill. 1 – From Eisenstein’s manuscript of “The Heir”: drawing showing two fighting cockerels Egyptians(accordingtoGregor). 10 Ill. 2 – Illustration from Joseph Gregor, Weltgeschichte des Theaters, Wien: Phaidon, 1933, p. 85 the heir 111
Buschandcomicstrip*.Auswuchs*[inGerman:growth]inmontage. 11 Ill. 3 – Sequential drawings composing an action (from Wilhelm Busch, Plisch und Plum, 1882) 3. The Method of Cinema Montageandcounterpoint. Theultimateexposureofthefundamentalpatternsofbeing. Montageasaunityindiversity. Theuniversalityofmethod: Throughart. Throughsociology(thenationalquestionandfederalism). Throughscience(thetruthaccordingtoMarx). 112 sergei m. eisenstein
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FILM THEORY IN MEDIA HISTORY SERGEI
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Film Theory in Media History explor
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This book is published in print and
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4. Act Now!, or For an Untimely Eis
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tors would like to warmly thank Jan
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not include here the diary entries
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Foreword Naum Kleiman In1997,onthee
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ideological “totalitarianism,”
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of writing the multivolume book on
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History of the USSR Academy of Scie
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Ill. 1 - A handwritten page from th
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Section 2 (Theory, History, Creatio
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dial perspective, as a medium remed
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only within the wider context of a
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three historicalperiods areintercut
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contained in Metod, the speech give
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One of the reasons why the Notes ca
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conception of the phases, while art
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presents it as one of the most impo
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ories continues to be present, and
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the past, the official aesthetic di
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In Montage, “synthesis” becomes
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ances of the idea of a total, synth
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“The Greeks, Diderot, Wagner, Scr
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sional films, as he writes in “Ab
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in literature in architecture etc.,
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up. The text “In Praise of the Ci
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nents. They both belong to “the h
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invented by Fox Talbot and the begi
Page 61 and 62: The only moment in which Eisenstein
Page 63 and 64: Khovanshchina, white as a tradition
Page 65 and 66: The myths and mysteries of Dionysus
Page 67 and 68: our perceptions work. This is not o
Page 69 and 70: is now what Eisenstein calls - with
Page 71 and 72: elements - a state that presumes th
Page 73 and 74: Such a dynamic generality of “the
Page 75 and 76: In writing poetry one is always aid
Page 77 and 78: His aspiration is toujours inassouv
Page 79 and 80: “primordial impulse” (ursprüng
Page 81 and 82: establishing the unmovable law of d
Page 83 and 84: time, the image of things is likewi
Page 85 and 86: possibilities, but rather thanks to
Page 87 and 88: [Riesenfilm] depicting the temporal
Page 89 and 90: panying “The Dramaturgy of Film F
Page 91 and 92: Both Eisenstein and Benjamin had fo
Page 93 and 94: In1932[sic]Ihadtriedtoorganizemythe
Page 95 and 96: Ill. 5 - A map drawn by Eisenstein
Page 97 and 98: Ill. 7 - Sergei M. Eisenstein, a dr
Page 99 and 100: The passage from the act of touchin
Page 101 and 102: total,environmentalworksofartcapabl
Page 103 and 104: montage, and later, audio-visual co
Page 105 and 106: same shift in awareness now as occu
Page 108 and 109: Part One Notes for a General Histor
Page 110 and 111: 1 THE HEIR 1 Date: 22-26.X.1946 [RG
Page 114 and 115: Throughallphenomenaofnature(biology
Page 116 and 117: CHRONICLE If we follow along the li
Page 118 and 119: Ill. 7 - Drawing showing an example
Page 120 and 121: 2 DYNAMIC MUMMIFICATION NOTES FOR A
Page 122 and 123: Ill. 1 - A page from Eisenstein’s
Page 124 and 125: ence and the actors are one and the
Page 126 and 127: Date: Moscow, 10.VI.47 [RGALI1923-2
Page 128 and 129: Lostsecretsofpainterlyeffectsofearl
Page 130 and 131: image of an episode, the image of t
Page 132 and 133: Ill. 6 - Both Ill. 5 and 6 are take
Page 134 and 135: Ill. 9 - Another drawing containg a
Page 136 and 137: Ill. 11 - Hubert and Jan Van Eyck,
Page 138 and 139: Date: 24.XII.47 [Muzeikino40-1-12/1
Page 140 and 141: Ermolova 53 is“morerealistic”:t
Page 142 and 143: The pure reproduction of sound, as
Page 144 and 145: HISTORICAL EVALUATIONS Howtolookatd
Page 146 and 147: Multi-pointperspective.“TheLastSu
Page 148 and 149: #6. Color-stereo-television Briefsu
Page 150 and 151: The role of the development of the
Page 152 and 153: Date: 28.XII.47 One more device*: M
Page 154 and 155: Animat[ion] and the history of grap
Page 156 and 157: Ill. 28 - One of the most popular l
Page 158 and 159: Stained glass windows (999) 115 Asa
Page 160 and 161: C[amille]Silvy, 127 pupilofPaulDela
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1870 - America, the announcement of
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dynamic mumification 163
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Catalogue of the Nilsson Collection
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Photomontage Photomontage Composite
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Ill. 37 - Detail of Ill. 29 showing
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Callot Misèresdelaguerre Edgar Deg
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NB.Thetypicalpassionofprogressivefi
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3. Nickelodeon, Ventriloquy, Panopt
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American shots of strikes — 1902,
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Documentary claims TheMuséeGrévin
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TheSpanishandMoorishcottagesofHolly
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2) The neglecting of the organic me
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Ill. 45 and 46 - Edgar Dégas, Les
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Thehistoryoftheproblemoftime Thehis
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Le Ciel. Illusions, Visions LeCabar
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Moralité - it’s a “diary of ev
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cès ing ivit ne 107 en lede rre de
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NB. NB. In posters blaring titles a
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Here the authorship both of the tex
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Ill. 58 - El Greco, The Agony in th
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endings of the tactile nerves are f
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And the most curious thing is that
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Ill. G, H, and I - Photograms from
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A Peruvian vessel with the sound of
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The Uzbeks’ need for incessant ba
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2)Howtheinventor’sthoughtstumbles
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Ill. 2 - Drawing dated 7.VII.47 on
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One can read the principle of “sy
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Butthunderinconnectionwithabsolutel
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(theEnglishtermis“windinstruments
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(NB.BothhereandtherethereisaflightI
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4 IN PRAISE OF THE CINE-CHRONICLE 1
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Incidentally, the prototype for thi
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Recollections of this phase (of the
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Thesecondsex*is“drawnon” forirr
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Ill. 6 Butinany: Ill. 7 Also[the“
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The aestheticized game with levels
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7.XI.47 [RGALI1923-2-1031] ÜBERGAN
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Ill. M, N, and O - Photograms from
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And more complex: metaphorical stru
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The year 1050. Lenses in antiquity.
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Ill. P, Q, and R - Photograms from
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Old and New didn’t turn out to be
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Traceherethegeneralgenealogyofthepr
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Part Two Essays
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Various (in terms of time) phases o
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From Expressive Movement to “Cine
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Ill. 2 - Honoré Daumier, Robert Ma
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disjunction as producing a “motor
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For Eisenstein, Futurism is little
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2. “The Heritage We Renounce”:
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goal was to encourage research and
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elations of intersection, belonging
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The case of Terry Ramsaye’s A Mil
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Kurt-WilhelmMarek(whosignedhistexts
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painters to raise a monument to the
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The “Cradle” of Cinema Oneofthe
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whole series of films dealing with
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course oneconsidersthehypermemoryto
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of a socio-political type often dom
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From then on Eisenstein connects go
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3. The Notes for a General History
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Ill. 1 - The first drawing: the bar
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An image of a barricade appears in
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the essential interpretation of phe
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note that this opposition between t
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4. Act Now!, or For an Untimely Eis
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Hugo Munsterberg was pioneering in
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with a language of ideas/sensations
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authorship of the film as it made p
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career. In the 1920s, of course, th
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Ill. 1 - Alexander Rodchenko, poste
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given in the form of single frames
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which, according to him, gave the e
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moment” which requires emphasis.
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which is neither fixed nor obvious.
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they are paranoid and instrumentali
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6. Eisenstein’s Absolutely Wonder
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which point towardagenealogical mod
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such chronologies lending themselve
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“here today, gone tomorrow,” or
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preted as a “displacement” in w
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7. Dynamic Typicality Abe Geil Eise
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present a “defined character pass
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caste system gave each person a phy
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years leading up to the adoption of
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Galton staked the superiority of hi
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ens to reverse the direction of cau
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principle of typicality offers a wa
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e seenfrom hisveryearly writingsBaz
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origin and descent. Reflecting on f
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metaphors lifted from biology. “T
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sublation. In fact one can even arg
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of art and the “realistic tendenc
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of an event (Memling, Botticelli’
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ary concepts as point of convergenc
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nant sound (dominante) is the princ
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internal affect takes place. Eisens
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English under the title “A Dialec
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Moreover, it is precisely the heter
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diction penetrates into the affect
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10. Distant Echoes 1 Arun Khopkar
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children, the craven-hearted and pr
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Nonanthropocentric View of the Worl
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workman’s tools, etc. One of the
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Everyone had drunk far too much tha
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Whether it is a sexual ecstasy, an
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mark next toit): “A friendly coop
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than a static one (the organism as
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It would be legitimate to recognize
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12. Eisenstein’s Mummy Complex: T
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ernity. One of the pillars of this
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tween them. The first category is d
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A pivot point in this conception, t
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“cine-chronicle” is thinking of
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ality for humanity and its subjecti
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13. Sergei Eisenstein and the Sovie
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was to focus on the Soviet cinema o
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neers such as Eisenstein) shaped mu
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the Venice Film Festival, sponsored
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claim to the universality of aesthe
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Bibliography Works by Eisenstein in
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Mettre en scène. Translated by Jac
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Ivanov, Viacheslav. “Estetika Eiz
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Roshal’, Lev. Gore umu, ili Eizen
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Iampolski,Mikhail.“TheoryasQuotat
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Taylor, Richard, and Ian Christie,
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Works on Eisenstein’s Drawings Ai
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6. Kinovedcheskie zapiski 36/37 (19
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5. In his essay published in this v
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28. The notion of “cultural serie
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Montage forthcoming from the Univer
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expressive movement of plants] […
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98. Montazh, p. 400. 99. Towards a
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cinematic dispositif as an open, fl
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indifferente (Venezia: Marsilio, 19
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244. Ibid., p. 12. 245. On the pres
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267. Jean Epstein, “L’Intellige
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315. Onthewayinwhichdifferentdefini
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Spanish bandit El Maragato, in 1806
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2. Verweile doch, du bist so schön
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once set off down such a promising
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[“Dvizhenie tsveta”] for the un
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“Pushkin and Gogol” (1946-48) h
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piecesofmusicandcreatedabout300pain
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along with a plan of the city. The
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1948) (cf. S.M. Eisenstein, Glass H
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108. Reference to one of the most p
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134. Eisenstein devoted several ent
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154. About this see Eisenstein’s
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illustrations by Gustave Doré (183
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Eisenstein of “thingism” [veshc
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Fedotov (1815-1852), one of Eisenst
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ofnatural phenomena andofthemytholo
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to shoot double exposures for Bezhi
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cinemawizardoftelevision,whowillbef
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4. Eisenstein writes about this in
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16. Unit 881, fund 1923, opus 2, Ru
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thousands of European and American
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“teleological” default for whic
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46. Georges Friedmann, “Sur une h
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EarlySovietCulture(DeKalb:NorthernI
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themselves” without the interfere
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sculptural group on the opera build
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characters’; in other words of an
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3. Lev Vygotsky, The Psychology of
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[New Brunswick: Rutgers University
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Turn-of-the-Century.” in Rethinki
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37. Galton, Inquiries into Human Fa
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26. Cf. my “A Cinema of Memory in
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31. “À partir de la félicité d
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7. Many of the traditional theatric
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deities, many of which are phenomen
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12. Philip Rosen, Eisenstein’s Mu
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17. Cristophe Dupin, “The Postwar
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Index of names NB The page numbers
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Brasillach, Robert 21, 272, 274, 32
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Didi-Huberman, Georges 7, 309-321,
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Grosz, George 57, 165, 335 Grusin,
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Lawrence, D.H. (David Herbert) 435
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Nil'sen, Vladimir 481 Nirnsee, Erns
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Salis, Rodolphe 274 Salome 69 Salt,
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Vatsyayan, Kapila 516 Veiller, Baya
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Contributors The Editors NaumKleima
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and Television, Comparative Critica
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uted seminal papers on film aesthet
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SERGEI M EISENSTEIN

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