SERGEI M EISENSTEIN

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5 THE PLACE OF CINEMA IN THE GENERAL SYSTEM OF THE HISTORY OF THE ARTS 1 Date: 3.I.1948 [RGALI1923-2-1020] Connection and Synthesis, etc. (as per the beginning of my GIK 2 program) Whythefilmistop*. Massdissemination. Thespectatorshapesthefilm*,“votingwithhisfeet”(nottobequoted!)*. IntheWest“inthenameofthespectator”–panderingtotheworst. In our case – with direct participation – both spiritual and material (by the state andbymeansofeducation). Cinemaasthemostperfectinstrumentnotonlyofmakingimpacton,butalsoof reproduction and reconstruction of man in all the variety of his backgrounds*, environmentetc. Butthere’smoretocinema’s method–themostcompletereflectionofman. Cinemaasacopyofman’spsychologicalapparatus. Continuity of flow of images* (K. Stanislavsky uses none other than “film” when he needstoclarify!). Close-upsaspointsofinsistenceofinterest(cf.dreams)* Fading in and out* and the fading of consciousness (sleep or almost consciousness).Dissolves.Themultidimensionalityofsimultaneousflowsofthought. “Recollections.” Flashbacks.Soft*. 241
And more complex: metaphorical structure, evident in devices and hidden in the depthsofcomposition.Alesserdegreeofpossibility in otherarts: a“column”of thelimitsoftheirpossibilities(Hegel).Nowhereinall thearts[…]. 3 Cinemaasthemostcomprehensivetechnicalautomatoscopeofthephenomenon ofthereflectionofrealitythatlies attheroot oftheformationandestablishment ofhumanconsciousness. The history of cinema from the point of view of the mechanization by technical means of the process of reflection itself and of the fixating of the results of such areflection. Thestageofstaticreflection. Fromtheeideticphenomenontothephotographiccamera. The automatic immediacy of the reflection of phenomena of reality in the socalledeideticphenomenon. Thefixatingofthereflectionoftheimageofphenomenainmemory. The problem of reproduction by technical means of processes: the getting the copy of phenomena of reality in a mechanical way, and fixating it by technical means. Getting the copy: Preservationbymeansofefficientreproduction(“embodiment”): Nux* [in Latin: nucleus] for everybody. Everything keeping its imprint*. Costumes, house. National shrines*: Peter’s cottage, Roosevelt’s home, repositories of relics (the same + pars pro toto*. Souvenirs*. Signatures etc. (Mrs. Havisham. Queen Victoria).“Thekissingoffootprints”. commemorativeritual.Reflectioninthesenseofepisodesofaritualplay.Reflection through the embodiment in the chorus of dithyramb. Simulation (image) = event(atthisstageofundifferentiatedthinking).Chorus=Dionysus. Reproductiononlyforthedurationoftheperformance. Preservationoftheobjectitselfinstead ofitsreflection(mummification). The stage of factual, physical (relief) casting. Morturary masks (Egypt, Rome. Continuation of the tradition even now). Resonance with (stereoscopic) cinema inrelief. Cradle 4 stage of the negative/positive principle. Foundation of the ability to producemultiplecopies. 242 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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HISTORICAL EVALUATIONS Howtolookatd
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Multi-pointperspective.“TheLastSu
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#6. Color-stereo-television Briefsu
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The role of the development of the
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Date: 28.XII.47 One more device*: M
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Animat[ion] and the history of grap
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Ill. 28 - One of the most popular l
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Stained glass windows (999) 115 Asa
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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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Page 204 and 205: And the most curious thing is that
Page 207 and 208: Ill. G, H, and I - Photograms from
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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
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Page 230 and 231: Recollections of this phase (of the
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Page 241: Ill. M, N, and O - Photograms from
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Page 247 and 248: Ill. P, Q, and R - Photograms from
Page 249 and 250: Old and New didn’t turn out to be
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Page 254: Part Two Essays
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Page 261 and 262: Ill. 2 - Honoré Daumier, Robert Ma
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Page 288 and 289: From then on Eisenstein connects go
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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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