SERGEI M EISENSTEIN

Date: Moscow, 10.VI.47
[RGALI1923-2-1016,p.1]
FORERUNNERS 23 TheHistoryofCinema Color
Stained-glasswindows{
Stéréo
Color
For example, about vitraux 24 * [in French: stained glass windows].
Forfilmisalso(besideseverythinginfusion)translucentpainting*,plannedforprojection.
Toacertainextent,itisvitraux*!
Butstereoscopiccinema hasevenmoreincommonwithvitraux.
Afterall,astained-glasswindowisnotonlytranslucency*(onscreen:acolor-field,
cast onto the blinding whiteness of the background), but even more – for the
12th and 13th centuries – a color form of volume penetrating into the space of
thenave!
Date: not dated – second half of 1947
[RGALI1923-2-1015,pp.5-6]
From the mechanical copy of reality to the conscious photographic creation and
the art of photography, and from the photographic camera to the film camera
The high art of early photography.
Photographicart accompaniesthedevelopmentofbourgeoissociety,responding
to its object/merchandise orientation (Balzac’s statistics), unimitable individualization(unimitablecopy)andcommercializedbroaddistribution.
These tendencies in the realist trend in literature and art come to replace the era
ofrevolutionaryromanticism.
The sharply negative attitude of decadents of the era of [late] romanticism towards
photography. The ideological inadmissability of photographism for them
(Baudelaireonphotographyin1859 25 ).
Photography’sconnectionwithrealisticgraphic artofitstime.
The photography of the era of high realism of the 1840s. The 1850s and 1860s.
Andthe1870s.
dynamic mumification 125