SERGEI M EISENSTEIN

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Callot Misèresdelaguerre Edgar Degas Effectofinstantaneousnessinbehavior.Butalsotheshot. Momentariness of instantaneous photography in cropping the shot (for the first time). Forthefirsttimetheshots.LesBaigneuses 156 . Fierysermonofgoingoutonthestreetandintobourgeoisinteriors. Topaintasyousee(buildingsfrombelow). Lautrec ContinuationofEdgarDegasinthatdirectionaswell. Manet’sattempt.“Explodingbomb”. Traditioninthisfromlithographyofactualités. Intensificationofthetendencyandapproachtophoto-eye. Degas and the sermon on entering into life, into the thematic of the city (d’après* [in French: according to] Slocombe and letters 157 ). Degas’“cuts”asreconstructionofthe“snapshot”*oftheeye. Degas on the angle of buildings, which for some reason are never drawn from below.(Towardstheangleandnaturalpointofview). Degas and photography. Lautrecandphotography. Degas and photography 1894 – époque de la grande passion de la photographie* [in French: the age of the great passionforphotography]. Degas–tookphotographs! LettredePaulPoujaudàMarcelGuerin*[inFrench], 1931 Lettres de Degas, 104: Mme Howland, from letters to whom Fromentin did old masters. 158 dynamic mumification 171
Towards special effects Doubleexposuresandsuperimpositions. Light shows of Loïe Fuller 159 and “transformations” in the small theatres “L’Enfer”and“LeParadis”inParis, LePalaisdeMirages(1907)with45effectsofchanginglight (intheMuséeGrevin) Ill. 40 – Eugène Atget, photograph of the façade of the theater L’Enfer, 1898 “Theatre [was born] on the public square” 160 Curiosités*[in French:curiosities]:Washington’swetnurse, 161 theseadevil. Negrovillageattheexhibitionof1900. The“importofsavages”asthecradleofthetravelogue*! The reconstruction of their everyday life and environment (I remember how it wasinRiga!). The connection between the animal epos [and] the animated film (Krazy Kat, Mickey Mouse, Donald Duck – notez* [in French: note]: K.K., M.M., D.D.) With…thedisplayofwildanimalsandwithzoos? Andwiththetrainedanimals.Barnum. Onceagain,the“lowerforms”. Barnumascircusandascuriosity*.Cf.Kunstkammernofthe17thand18thcentury. And Barnum as the origin of the popular scientific film. (At first fakes*. Then [real]) 172 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
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is now what Eisenstein calls - with
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elements - a state that presumes th
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Such a dynamic generality of “the
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In writing poetry one is always aid
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His aspiration is toujours inassouv
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“primordial impulse” (ursprüng
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establishing the unmovable law of d
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time, the image of things is likewi
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possibilities, but rather thanks to
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[Riesenfilm] depicting the temporal
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panying “The Dramaturgy of Film F
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Both Eisenstein and Benjamin had fo
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In1932[sic]Ihadtriedtoorganizemythe
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Ill. 5 - A map drawn by Eisenstein
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Ill. 7 - Sergei M. Eisenstein, a dr
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The passage from the act of touchin
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total,environmentalworksofartcapabl
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montage, and later, audio-visual co
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same shift in awareness now as occu
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Part One Notes for a General Histor
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1 THE HEIR 1 Date: 22-26.X.1946 [RG
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The Phenomenon of Cinema (Historyof
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Throughallphenomenaofnature(biology
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CHRONICLE If we follow along the li
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Ill. 7 - Drawing showing an example
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2 DYNAMIC MUMMIFICATION NOTES FOR A
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
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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
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
Page 162 and 163: 1870 - America, the announcement of
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Page 166 and 167: Catalogue of the Nilsson Collection
Page 168 and 169: Photomontage Photomontage Composite
Page 170 and 171: Ill. 37 - Detail of Ill. 29 showing
Page 174 and 175: NB.Thetypicalpassionofprogressivefi
Page 176 and 177: 3. Nickelodeon, Ventriloquy, Panopt
Page 178 and 179: American shots of strikes — 1902,
Page 180 and 181: Documentary claims TheMuséeGrévin
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Page 184 and 185: 2) The neglecting of the organic me
Page 186 and 187: Ill. 45 and 46 - Edgar Dégas, Les
Page 188 and 189: Thehistoryoftheproblemoftime Thehis
Page 190 and 191: Le Ciel. Illusions, Visions LeCabar
Page 192 and 193: Moralité - it’s a “diary of ev
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Page 196 and 197: NB. NB. In posters blaring titles a
Page 198 and 199: Here the authorship both of the tex
Page 200 and 201: Ill. 58 - El Greco, The Agony in th
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Page 204 and 205: And the most curious thing is that
Page 207 and 208: Ill. G, H, and I - Photograms from
Page 209 and 210: A Peruvian vessel with the sound of
Page 211 and 212: The Uzbeks’ need for incessant ba
Page 213 and 214: 2)Howtheinventor’sthoughtstumbles
Page 215 and 216: Ill. 2 - Drawing dated 7.VII.47 on
Page 217 and 218: One can read the principle of “sy
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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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