SERGEI M EISENSTEIN

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Ill. 7 and 8 – Sergei M. Eisenstein, The Battleship Potëmkin, 1925. Single frames. 321
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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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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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Page 280 and 281: The “Cradle” of Cinema Oneofthe
Page 282 and 283: whole series of films dealing with
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Page 288 and 289: From then on Eisenstein connects go
Page 290 and 291: 3. The Notes for a General History
Page 292 and 293: Ill. 1 - The first drawing: the bar
Page 294 and 295: An image of a barricade appears in
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Page 298 and 299: note that this opposition between t
Page 300 and 301: 4. Act Now!, or For an Untimely Eis
Page 302 and 303: Hugo Munsterberg was pioneering in
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Page 308: career. In the 1920s, of course, th
Page 311 and 312: Ill. 1 - Alexander Rodchenko, poste
Page 313 and 314: given in the form of single frames
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Page 341 and 342: contradictions - the “image” (o
Page 343 and 344: In effect, Galton promises nothing
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Page 348 and 349: 8. Archaeology vs. Paleontology: A
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Page 358 and 359: 9. Point - Pathos - Totality Mikhai
Page 360 and 361: December 24, 1947, he writes: “Mu
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contemporaryphilosophers(forinstanc
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My interest in the pre-natal stage
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Interconnectedness of All Arts Let
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mechanisticphilosophiesofthesevente
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The deployment of sharp and flat no
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vastness and look up, up and up, at
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11. “Synthesis” of the Arts or
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The greatwork onmontage is overtlya
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such evident pulverization that som
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unity. Although Eisenstein did not
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later work, much of which was unpub
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nal expressed in the trauma, but it
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At first the distinction between th
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The distinction is also now abetted
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third category from the first two i
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hapsarchivalinformationonthismayeme
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his trip abroad in September 1932,
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scious relation to the historical e
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a workshop, and abjured theory and
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cinema or the encyclopedia of the h
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opment of Eisenstein’s theories i
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Nonindifferent Nature. Edited by He
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Teoria generale del montaggio. Edit
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Kukui, Il’ia. “‘Zhestokii tal
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Bohlinger, Vincent. “Engrossing?
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Nesbet,Anne.SavageJunctures:SergeiE
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Schifano, Laurence, and Antonio Som
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Notes Editorial Criteria 1. “Nasl
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17. Other notes from 1944-1946, bot
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20. See Philippe Dubois, Lucia Ramo
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37. Sergei M. Eisenstein, “Commen
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Nature, ed. Herbert Marshall (Cambr
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84. Onthisideaseetheessaypublishedi
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126. See Pavel Florensky, “Revers
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Psychological Study (1916) - appear
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ancestor.SeeGeorgesDidi-Huberman,
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258. On the question of anachronism
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297. El Lissitzky, “Topographie d
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paroît quelques-uns qui, comme des
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17. The Horrors of Kalish, a propag
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e seen from towers, mountains, and
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20. See above, n. 2. 21. Miss Havis
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1988,vol.2,p.68).TheEnglishtranslat
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51. See also the section “Montage
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68. On Tintoretto’s and Daumier
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in O. Bulgakowa (ed.), Eisenstein u
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Ornament” (Metod, vol. 2, pp. 440
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125. Arthur Korn (1870-1945), a Ger
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other young artists, as well as the
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167. “The Great God Bogus” is a
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Aleksandr Pushkin’s essay “A Jo
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220. Moralité, a French term writt
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yield to him my entire being and, i
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11. Eisenstein had in mind the iron
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4. Roma, città aperta [Rome, Open
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physiognomy.Theinstrumentwasadescen
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Part Two - Essays 1. Ada Ackerman,
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‘spontaneous generation’ [samoz
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20. Michel Foucault, The Archaeolog
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published by Jacques Melot (see ibi
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Bazin, “The Ontology of the Photo
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various sites. Eisenstein speaks of
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96. Nonindifferent Nature, p. 298.
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3. In what follows I will focus on
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9. See Torben Grodal, Embodied Visi
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19. Sergei Eisenstein, “Le ciném
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20. D.N. Rodowick, The Virtual Life
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14. For an illuminating discussion
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11. “Film läuft in der Zeit ab,
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12. Pavel Florenskii, Sochinenija v
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57. Eisenstein, Metod, vol. 2, p. 4
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20. Naum Kleiman provides us with a
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(London: I.B. Tauris, 2010), pp. 11
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15. Ibid., p. XXX. These notes are
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33. Peter J. Bloom, “Refiguring t
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Attis 64 Auerbach, Erich 319 Aumont
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Claparède, Edmond 497 Clark, Kenne
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Firth, Charles Harding 478 Fliesche
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Jenkins, Keith 505 Jenkins, Henry 5
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Mauthner, Fritz 128, 459 Mayakovsky
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Queen Elizabeth (of Great Britain)
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Stounbjerg, Per 510 Strachey, Lytto
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Zeuxis 127, 166, 243 Zglinicki, Fri
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The Authors of the Critical Essays
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Camera Obscura, and Women and Perfo
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SERGEI M EISENSTEIN

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