SERGEI M EISENSTEIN

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Taylor, Richard, and Ian Christie, eds. The Film Factory: Russian and Soviet Cinema in Documents,1896-1939.London: Routledge,1994. Taylor, Richard, and Ian Christie, eds. Inside the Film Factory: New Approaches to Russian and SovietCinema.London: Routledge,1994. Thompson, Kristin. Eisenstein’s Ivan the Terrible: A Neoformalist Analysis. Princeton: PrincetonUniversityPress,1981. Tsivian,Yuri.IvantheTerrible.London:BFIPublishing,2002. Werner, Gösta. “James Joyce and Sergei Eisenstein.” James Joyce Quarterly 27.3 (1990): 491- 507. Wollen, Peter. “Eisenstein’s Aesthetics,” in Peter Wollen, Signs and Meaning in the Cinema. Bloomington:IndianaUniversityPress,1972,19-73. Zholkovsky, Alexander. “Generative Poetics in the Writing of Eisenstein,” in Ann Shukman,ed.,FilmTheoryandGeneralSemiotics.Oxford:RussianPoeticsinTranslation,1981. Works about Eisenstein in French Ackerman,Ada.EisensteinetDaumier:Desaffinités électives.Paris:ArmandColin,2013. Albera,François.Eisensteinetle constructivismerusse.Lausanne:L’Âged’Homme,1990. Albera, François. Notes sur l’esthétique d’Eisenstein. Lyon: C.E.R.T. et C.I.R.S. de l’Université LyonII, 1974. Albera,François,ed.Eisensteindansle texte[specialissue].Cinémas11.2-3(2001). Amengual,Barthélémy.QuevivaEisenstein!Lausanne:L’Âged’Homme,1980. Aumont,Jacques. MontageEisenstein.Paris:ImagesModernes,2005. Barthes,Roland.“Diderot,Brecht,Eisenstein.”Revued’Esthétique2-4(1973). Barthes,Roland.“Letroisième sens.”CahiersduCinéma222(1970). Carasco,Raymonde.Hors-cadreEisenstein.Paris:Macula,1979. Chateau, Dominique, François Jost, and Martin Lefebvre, eds. Eisenstein. L’Ancien et le nouveau.Paris:PublicationsdelaSorbonne,2002. Conio,Gérard.Eisenstein. Lecinémacommeart total.Paris:Infolio,2007. Didi-Huberman, Georges. La ressemblance informe, ou le Gai Savoir visuel selon Georges Bataille. Paris:Macula,1995. Didi-Huberman, Georges. Peuples en larmes, peuples en armes. L'oeil de l'histoire, 6. Paris: Les EditionsdeMinuit,2016(forthcoming). Leutrat, Jean-Louis. Échos d’Ivan le Terrible. L’éclair de l’art, les foudres du pouvoir. Introduction byB.Amengual.Bruxelles: DeBoeck&Larcier,2006. Michaud, Philippe-Alain. Aby Warburg et l’image en mouvement. With an introduction by GeorgesDidi-Huberman.Paris:Macula,1998. Michaud,Philippe-Alain.Sketches.Histoirede l’art,cinéma.Paris:Kargo&L’éclat,2006. Mitry,Jean.S.M.Eisenstein.Paris:Jean-PierreDelarge,1978. Moussinac,Léon.SergeiEisenstein.Paris:Seghers,1968. Olivero, Massimo. “Figures de l’extase. Une esthétique des limites de la représentation filmique de Serguei M. Eisenstein à Orson Welles.” PhD diss., University of Paris III: SorbonneNouvelle. Ropars-Wuilleumier, Marie-Claire, and Pierre Sorlin. Octobre. Écriture et idéologie. Paris: Albatros,1976. bibliography 425
Schifano, Laurence, and Antonio Somaini, eds. Sur les traces de Que viva Mexico! (Eisenstein 1930-32).Cinéma,anthropologie,archéologie.Paris:PressesdeParisOuest,2015. Schmulévitch, Eric. Ivan le Terrible de S.M. Eisenstein. Chronique d’un tournage (1941-46). Paris: l’Harmattan,DL 2010. Schmulévitch, Eric. Un procès de Moscou au cinéma. Le pré de Béjine d’Eisenstein. Paris: L’Harmattan,2008. Somaini, Antonio. Eisenstein. Cinéma, histoire de l'art, montage. Transl. by Anne-Violaine Houcke.Paris:CNRSÉditions,2016 (forthcoming). Works about Eisenstein in German Bohn, Anna. Film und Macht. Zur Kunsttheorie Sergej M. Eisensteins 1930-1948. München: Diskursfilm,2003. Bulgakowa, Oksana. Sergej Eisenstein – drei Utopien. Architekturentwürfe zur Filmtheorie. Berlin: PotemkinPress, 1996. Bulgakowa, Oksana, ed. Eisenstein und Deutschland. Texte Dokumente Briefe. Berlin: Akademie derKünste–HenschelVerlag, 1998. Bulgakowa,Oksana,ed.HerausforderungEisenstein. Berlin:AkademiederKünste,1989. Ivanov,Vjacheslav V.Einführung inallgemeine ProblemederSemiotik. Edited, withanintroductionbyW.Eismann.Tübingen:Narr,1985. Lenz, Felix. Sergej Eisenstein: Montagezeit. Rhythmus, Formdramaturgie, Pathos. München: Fink, 2008. Südendorf, Werner (with Naum Klejman and Friedrich Schlegel). Sergej Eisenstein. MaterialenzuLebenundWerk,Wien:Hanser,1975. Thomä, Dieter. Totalität und Mitleid: Richard Wagner, Sergej Eisenstein und unsere ethisch-ästhetischeModerne.FrankfurtamMain:Suhrkamp, 2006. Works about Eisenstein in Italian Bertetto, Paolo, ed. Teorie del cinema rivoluzionario: gli anni Venti in URSS. Ejzenstejn, FEKS, Vertov.Milano:Feltrinelli,1975. Careri, Giovanni. Voli d’amore. Architettura, pittura e scultura nel “bel composto” di Bernini. Bari: Laterza,1991. Casetti, Francesco. “L’immagine del montaggio,” in S.M. Ejzenštejn, Teoria generale del montaggio,ed.PietroMontani.Venezia:Marsilio,1985,ix-xxv. Cervini,Alessia.SergejM.Ejzenštejn:l'immagineestatica. Roma:Entedellospettacolo,2006. Cervini, Alessia, and R. de Gaetano, ed. Attualità di Ejzenštejn [special issue]. Bianco & nero 569(2011). Montani,Pietro.Fuoricampo.Studisulcinemael’estetica.Urbino:Quattroventi,1993. Montani, Pietro, ed. Sergej Ejzenštejn: oltre il cinema. Biblioteca dell’Immagine – La Biennale diVenezia,Venezia,1991. Pitassio, Francesco, ed. La forma della memoria. Memorialistica, estetica, cinema nell’opera di SergejEjzenštejn.Udine:Forum,2009. Rebecchi, Marie. Paris 1929. Eisenstein, Bataille, Buñuel. Milano: Mimesis, 2016 (forthcoming). Somaini,Antonio.Ejzenštejn.Ilcinema,le arti,ilmontaggio.Torino:Einaudi2011. 426 bibliography
Page 1 and 2:
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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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
Page 376 and 377: children, the craven-hearted and pr
Page 378 and 379: Nonanthropocentric View of the Worl
Page 380 and 381: workman’s tools, etc. One of the
Page 382 and 383: Everyone had drunk far too much tha
Page 384: Whether it is a sexual ecstasy, an
Page 387 and 388: mark next toit): “A friendly coop
Page 389 and 390: than a static one (the organism as
Page 391 and 392: It would be legitimate to recognize
Page 394 and 395: 12. Eisenstein’s Mummy Complex: T
Page 396 and 397: ernity. One of the pillars of this
Page 398 and 399: tween them. The first category is d
Page 400 and 401: A pivot point in this conception, t
Page 402 and 403: “cine-chronicle” is thinking of
Page 404 and 405: ality for humanity and its subjecti
Page 406 and 407: 13. Sergei Eisenstein and the Sovie
Page 408 and 409: was to focus on the Soviet cinema o
Page 410 and 411: neers such as Eisenstein) shaped mu
Page 412 and 413: the Venice Film Festival, sponsored
Page 414 and 415: claim to the universality of aesthe
Page 416 and 417: Bibliography Works by Eisenstein in
Page 418 and 419: Mettre en scène. Translated by Jac
Page 420 and 421: Ivanov, Viacheslav. “Estetika Eiz
Page 422 and 423: Roshal’, Lev. Gore umu, ili Eizen
Page 424 and 425: Iampolski,Mikhail.“TheoryasQuotat
Page 428: Works on Eisenstein’s Drawings Ai
Page 431 and 432: 6. Kinovedcheskie zapiski 36/37 (19
Page 433 and 434: 5. In his essay published in this v
Page 435 and 436: 28. The notion of “cultural serie
Page 437 and 438: Montage forthcoming from the Univer
Page 439 and 440: expressive movement of plants] […
Page 441 and 442: 98. Montazh, p. 400. 99. Towards a
Page 443 and 444: cinematic dispositif as an open, fl
Page 445 and 446: indifferente (Venezia: Marsilio, 19
Page 447 and 448: 244. Ibid., p. 12. 245. On the pres
Page 449 and 450: 267. Jean Epstein, “L’Intellige
Page 451 and 452: 315. Onthewayinwhichdifferentdefini
Page 453 and 454: Spanish bandit El Maragato, in 1806
Page 455 and 456: 2. Verweile doch, du bist so schön
Page 457 and 458: once set off down such a promising
Page 459 and 460: [“Dvizhenie tsveta”] for the un
Page 461 and 462: “Pushkin and Gogol” (1946-48) h
Page 463 and 464: piecesofmusicandcreatedabout300pain
Page 465 and 466: along with a plan of the city. The
Page 467 and 468: 1948) (cf. S.M. Eisenstein, Glass H
Page 469 and 470: 108. Reference to one of the most p
Page 471 and 472: 134. Eisenstein devoted several ent
Page 473 and 474: 154. About this see Eisenstein’s
Page 475 and 476: 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
Page 509 and 510:
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
Page 528 and 529:
Brasillach, Robert 21, 272, 274, 32
Page 530 and 531:
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
Page 536 and 537:
Nil'sen, Vladimir 481 Nirnsee, Erns
Page 538 and 539:
Salis, Rodolphe 274 Salome 69 Salt,
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Vatsyayan, Kapila 516 Veiller, Baya
Page 542 and 543:
Contributors The Editors NaumKleima
Page 544 and 545:
and Television, Comparative Critica
Page 546:
uted seminal papers on film aesthet
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