SERGEI M EISENSTEIN

Montage forthcoming from the University of Illinois Press), and Alessia Cervini, La
ricerca del metodo. antropologia e storia delle forme in S.M. Ejzenštejn (Milano: Mimesis,
2010).
49. Eisenstein’s text entitled “Film Form: New Problems” is available in English in two
slightly different versions: as an autonomous text in Sergei Eisenstein, “Film Form:
New Problems”in ibid.,FilmForm: EssaysinFilmTheory,ed. andtrans. JayLeyda(San
Diego: Harcourt, 1949), pp. 122-149, and as part of the “Speeches to the All-Union
Creative Conference of Soviet Filmworkers” in SW 3 pp. 16-46.
50. See the “Closing Speech” in “Speeches to the All-Union Creative Conference of
Soviet Filmworkers,” in SW 3, pp. 41-46.
51. Ibid., in SW 3, p. 38
52. Eizenshtein, “Diffuznoe vospriiatie” [Diffused perception], p. 323.
53. Sigmund Freud, Civilization and Its Discontents [1929], ed. and trans. James Strachey
(New York: Norton, 1962), pp. 16-18. For an analysis of this passage, see Philippe
Dubois, L’Acte photographique et autres essais (Paris: Nathan, 1990), pp. 261-283.
54. Ibid., p. 18.
55. Walter Benjamin, Excavation and Memory [1932], in Walter Benjamin, Selected Writings,
ed.MichaelW.Jennings,HowardEiland,andGarySmith,trans.RodneyLivingstone
and others (Cambridge, MA: The Belknap Press of Harvard University Press, 1999),
vol. 2, part 2 (1931-1934), p. 576.
56. On this archaeological understanding of history and memory, see Knut Ebeling,
Wilde Archäologien. Theorien materieller Kultur von Kant bis Kittler (Berlin: Kadmos, 2012),
pp. 254-362. See also Knut Ebeling and Stefan Altekamp, eds., Die Aktualität des
Archäologischen in Wissenschaft, Medien und Künsten (Frankfurt am Main: Fischer, 2004).
57. Eisenstein is here probably referring to Émile Ludwig, Genius and Character, trans.
Kenneth Burke (New York: Blue Ribbon, 1924).
58. Sergei Eisenstein, Neravnodushnaia priroda, ed. N. Kleiman (Moskva: Muzei kino,
Eizenshtein tsentr, 2004), vol. 2, p. 7.
59. These are some of the texts mentioned by Eisenstein: On Griffith and on the history
of the close-up, Istoriya krupnovo plana [History of the close-up] (divided into three
sections:“DickensandGriffith,”“Peripeteiasoftheparsprototo,”“GriffithandUs”),
inEizenshtein,Metod,vol.2,pp.8-131(partialEnglishtranslationDickens,Griffithand
Ourselves, in SW 3, pp. 193-239); History of the Close-up, in Immoral Memories: An
Autobiography, trans. Herbert Marshall (Boston: Houghton Mifflin, 1983) pp. 228-
233. On Disney, Disney, ed. Oksana Bulgakowa and Dietmar Hochmuth, trans.
Dustin Condren (Berlin: Potemkin Press, 2011-2012). On stereoscopic cinema, O
Stereokino [1947], in Neravnodushnaia priroda, vol. 2, pp. 336-387 (partial English
translation “About Stereoscopic Cinema,” Penguin Film Review 8 (January 1949), pp.
35-44; full French translation “Du cinéma en relief,” in Le Mouvement de l’art, ed.
François Albera and Naum Kleiman, with an introduction by Barthélémy Amengual
[Paris: Cerf, 1986], pp. 97-158). On montage and “the Chinese culture of
hieroglyphs,” see “The Dramaturgy of Film Form” [1929], in SW 1, pp. 161-180,
which actually concerns Japanese “hieroglyphs,” just as An Unexpected Juncture [1928]
and Beyond the Shot [1929], in SW 1, pp. 115-122 and 138-151. On “Landscape and the
history of the Chinese understanding of nature,” see Sergei Eisenstein, Nonindifferent
436 notes