SERGEI M EISENSTEIN

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Works on Eisenstein’s Drawings Aizenshtadt, Olga, Gennady Miasnikov, and Iurii Pimenov. Risunki = dessins = drawings. Moskva:Iskusstvo,1961. DeSanti,P.M.IdisegnidiEisenstein. Roma-Bari:Laterza,1981. De Zegher, Caterine. The Body of the Line: Eisenstein’s Drawings. Paris: Fondation Daniel Langlois,1999. Eisenstein, S.M. Les Dessins méxicains d’Eisenstein. With an introduction by I. Karetnikova, choice of drawings by Inga Karetnikova and Naum Klejman, in collaboration with LeonSteinmetz.Moskva:SovetskijHudožnik, 1969. Eisenstein, S.M. S.M. Eisenstein. Esquisses et dessins. Edited by Jacques Aumont, Bernard Eisenschitz,andJeanNarboni.Paris:Editionsdel’étoile,1978. Eisenstein,S.M.UnpublishedMexican Drawings.México:CinetecaNacional,1978. Goriaeva,Tatiana,etal.AMischievousEisenstein.Exhibitioncatalogue.St.Petersburg:Slavia Publishers,2006. Marcade, Jean-Claude, and Galia Ackerman. S.M. Eisenstein. Dessins secrets. Paris: Editions duSeuil,1999. RisunkiSergeiaEizenshteina.1942-1944.KollektsiiaLidiiNaumovoi. Moskva:Iskusstvo,2004. bibliography 427
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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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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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Page 384: Whether it is a sexual ecstasy, an
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Page 389 and 390: than a static one (the organism as
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Page 396 and 397: ernity. One of the pillars of this
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Page 406 and 407: 13. Sergei Eisenstein and the Sovie
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Page 410 and 411: neers such as Eisenstein) shaped mu
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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 426 and 427: Taylor, Richard, and Ian Christie,
Page 430 and 431: Notes Editorial Criteria 1. “Nasl
Page 432 and 433: 17. Other notes from 1944-1946, bot
Page 434 and 435: 20. See Philippe Dubois, Lucia Ramo
Page 436 and 437: 37. Sergei M. Eisenstein, “Commen
Page 438 and 439: Nature, ed. Herbert Marshall (Cambr
Page 440 and 441: 84. Onthisideaseetheessaypublishedi
Page 442 and 443: 126. See Pavel Florensky, “Revers
Page 444 and 445: Psychological Study (1916) - appear
Page 446 and 447: ancestor.SeeGeorgesDidi-Huberman,
Page 448 and 449: 258. On the question of anachronism
Page 450 and 451: 297. El Lissitzky, “Topographie d
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Page 458 and 459: 20. See above, n. 2. 21. Miss Havis
Page 460 and 461: 1988,vol.2,p.68).TheEnglishtranslat
Page 462 and 463: 51. See also the section “Montage
Page 464 and 465: 68. On Tintoretto’s and Daumier
Page 466 and 467: in O. Bulgakowa (ed.), Eisenstein u
Page 468 and 469: Ornament” (Metod, vol. 2, pp. 440
Page 470 and 471: 125. Arthur Korn (1870-1945), a Ger
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Page 474 and 475: 167. “The Great God Bogus” is a
Page 476 and 477: 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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