SERGEI M EISENSTEIN

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cès ing ivit ne 107 en lede rre de déant etc. ai le po- Ill. 52 – Frames of The General Line (The Old and The New), 1926-29, showing the growing number of peasants joining the kolkhoz after the successful demonstration of the functioning of the milk separator. To follow the frames as they appear in the sequence, follow the columns from left to right, from top to bottom. dynamic mumification 193
Strangely enough, this style of type-setting (for papers) begins only in the spring of…1898! With the start of the Spanish-American War (over the “independence” of Cuba). Arthur Brisbane, Hearst’s assistant, introduces them. The war was “created” by Hearstandhisrabidcampaign. Cf. John K. Winkler, William Randolph Hearst, NRF, transl. by M. Lebas: p. 165 : « ... la guerre fut déclarée. Vint alors une nouvelle eruption d’excès typographiques. Brisbane introduisit les titres en majuscules dans l’Evening Journal. Quelques-uns avaient quatre pouces de haut. L’Evening World suivit l’exemple. Parfoit toute la première page de deux journaux n’etait plus qu’une salade de titres...» p. 169 : « ...Le jour où fut annoncée la victoire de Dewey à Manille, le 2 mai 1898 le Journal publia un fleuve de suppléments... le tirage atteignit le nouveau record de 1.600.000 exemplaires. ...L’influence de la violence typographique apportée par usage que le Journal fit des caractères géants pendant la guerre est visible danspresquechaquejournalaméricainàprésent...» 227 Cf. also Some Newspapers and Newspapermen by Oswald Garrison Villard, N.Y., Knopf,1923,1926. Illustrations: Oppositep.20:TheTribune’sFirstPagebeforeHearstInvadedtheNewYorkField* (amodestgreypage–acompletelygreyfield). Oppositep.36:ASpanish WarFirstPageofHearst’sEveningJournalApril281898. * BOMBARDED! 2a OUR FLEET ATTACKS a Matanzas CITY MAY BE IN RUINS 1½ a (afrenziedwailofblaringheadlines) [the titles occupy] } 2/3 of the whole page The (New York) Tribune as It Is Today, Showing the Hearst Influence upon its headlines and make-up.* (Typicalnewspaperoftodaywithscreamingheadlines,butnottoomuch) NB. Try to make certain, when in cinema. 194 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
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Ill. 1 - A page from Eisenstein’s
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ence and the actors are one and the
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Date: Moscow, 10.VI.47 [RGALI1923-2
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Lostsecretsofpainterlyeffectsofearl
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image of an episode, the image of t
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Ill. 6 - Both Ill. 5 and 6 are take
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Ill. 9 - Another drawing containg a
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Ill. 11 - Hubert and Jan Van Eyck,
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Date: 24.XII.47 [Muzeikino40-1-12/1
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Ermolova 53 is“morerealistic”:t
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The pure reproduction of sound, as
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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
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 172 and 173: Callot Misèresdelaguerre Edgar Deg
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Page 176 and 177: 3. Nickelodeon, Ventriloquy, Panopt
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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
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Page 192 and 193: Moralité - it’s a “diary of ev
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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Page 226 and 227: 4 IN PRAISE OF THE CINE-CHRONICLE 1
Page 228 and 229: Incidentally, the prototype for thi
Page 230 and 231: Recollections of this phase (of the
Page 232 and 233: Thesecondsex*is“drawnon” forirr
Page 234 and 235: Ill. 6 Butinany: Ill. 7 Also[the“
Page 236 and 237: The aestheticized game with levels
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Page 241 and 242: Ill. M, N, and O - Photograms from
Page 243 and 244: 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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