SERGEI M EISENSTEIN

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2 DYNAMIC MUMMIFICATION NOTES FOR A GENERAL HISTORY OF CINEMA 1 Date: 2.XII.46 [Muzeikino40-1-12/4,pp.3-8] “Verweile doch, du bist so schön!”* [in German: Stay, you are so beautiful!] 2 One can view all artistic activity als Auswuchs dieses Triebes* [in German: as development from this urge]. Beginning even beyondthe bounds of art itself. Woher dieser Urtrieb?* [in German: Wheredoes thisprimaryurgecomefrom?] Man is eternally subject to the power of creation and destruction, just as nature, history,andsocietyare. His aspiration is toujours inassouvie* [in French: never satisfied] – stability – eternity. It is all the same whether it is physical immortality (VIEM 3 ) – immortality through children – eternal life through metempsychosis – by going to paradise – through the creation of enduring things of value – in the hearts of the people, etc.(TheAmerican’slongingfor“security”*) In the“grimace” [this aspiration]is trauma, which is built on endlessly reproducing the situation that caused the trauma – that is, the very strongest impression –sostrong,thatitsuffusesthefundamentalelementsofthepsyche. But “trauma” is only the pathological grimace of what demands enduring reinforcement in relation to yourself (as the most valuable!), or in relation to the mostvaluableinyourownexperience,orinrelationtothehistoryofyoursociety. Thiscanhappenintwoways: 1. the reproduction of an event or person (dynamically) or 119
2. the mummification of a person or event or, if you like, a third way: 3. the recording by the means of a sign (from a pyramid to a gravestone, or the inscription on a cross in a cemetery). According to the norms of sensuous thinking (primary logic), the image of an ancestor is the ancestor and the reenacted mystery is the actually reoccurring event. Thisfirstisthecradle 4 oftheater. Thedithyrambislikeachronicle,performedbyeveryone(withoutanydistinction betweenaudienceandperformers),ofthe“adventures”ofDionysus. 5 Pilgrimages are absolutely identical – the passing by the pilgrims themselves throughthetwelvestationsofthepassionofChrist. 6 Both cases – in accordance with primary logic – are of magically, newly recurred events – that is, existing again in reality. Next,fallingontheheelsofthis,comethe“theaters”,inthefirststages...chronological:there-enactmentof(mythological)history. Prometheus,Oedipus,etc. ThesamethingwithChristians:themysteries,thatis,thehistoryofChrist. InShakespeare:thehistoricalchronicles. And in Soviet cinema we have: cine-chronicle and subsequently epic (my own) film with the re-creation of Potëmkin on the Odessa steps, or of October on the actual square of the Winter Palace. For the connection of this with the mysteries, seeTheTheatreArts. 7 Inthesecondcategorywe find: The mummification of the hero – for the eternal preservation of his physical being (that is, again in accordance with primary logic – of the hero himself) fromEgypttothisday. The posthumous publication of works as memory – belongs to the same category. The hero’s death-mask – as foundation of the naturalism of Egyptian sculpture (“if the shell is out of proportion, the spirit will not go into it!”) and the images of ancestors in Rome would become the “Roman portraits” of the first centuries ofourera,strikingfortheirrealism. 120 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
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The only moment in which Eisenstein
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Khovanshchina, white as a tradition
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The myths and mysteries of Dionysus
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our perceptions work. This is not o
Page 69 and 70: is now what Eisenstein calls - with
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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
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Page 81 and 82: establishing the unmovable law of d
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Page 85 and 86: possibilities, but rather thanks to
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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
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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 112 and 113: The Phenomenon of Cinema (Historyof
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 122 and 123: Ill. 1 - A page from Eisenstein’s
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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
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Page 150 and 151: The role of the development of the
Page 152 and 153: Date: 28.XII.47 One more device*: M
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Page 158 and 159: Stained glass windows (999) 115 Asa
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Page 166 and 167: Catalogue of the Nilsson Collection
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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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