SERGEI M EISENSTEIN

Nature, ed. Herbert Marshall (Cambridge: Cambridge University Press, 1987). On
color and chromatic montage, see Eisenstein, Neravnodushnaia priroda, vol. 2, pp.
228-335 and 544-612.
60. On Eisenstein and Ramsaye, see Albera, “‘The Heritage We Renounce,’” p. 273.
61. Eisenstein, Neravnodushnaia priroda, vol. 2, p. 7.
62. See supra, note 59.
63. Beyond the Shot, in SW 1, p. 138.
64. Walter Benjamin, The Arcades Project, trans. Howard Eiland and Kevin McLaughlin
(Cambridge, MA: The Belknap Press of Harvard University Press, 1999), fragment
N2a, 3, p. 362.
65. Eisenstein, “The Dramaturgy of Film Form,” p. 163. On the concept of “interval” in
the theories of montage of Vertov and Eisenstein, see Annette Michelson, “The
Wings of Hypothesis: On Montage and the Theory of the Interval,” in Montage and
Modern Life, 1919-1942, ed. M. Teitelbaum (Cambridge, MA: MIT Press, 1992), pp.
60-81.
66. “The Dramaturgy of Film Form,” p. 168.
67. On the history of this paradigm, also known as “recapitulation theory,” see Stephen
Jay Gould, Ontogeny and Phylogeny (Cambridge, MA: The Belknap Press of Harvard
University Press, 1977), which analyzes the presence of this paradigm in the history
of biology and across a wide spectrum of social and cultural sciences.
68. See J.G. Herder, Plastik: Einige Wahrnehmungen über Form und Gestalt aus Pygmalions
bildendem Traume (1778) and the Conversations of Goethe with Johann Peter Eckermann, ed.
J.K.Moorhead(Cambridge,MA:DaCapoPress,1998),especiallytheconversationof
January 17, 1827, in which Goethe says that “even if the world progresses generally,
youth will always begin at the beginning, and the epochs of the world’s cultivation
will be repeated in the individual” (Conversations of Goethe with Eckermann and Soret,
trans. John Oxenford [London: Smith, Elder & Co., 1850], vol. 1, pp. 328-329.
69. E. Haeckel, Die Welträtsel. Gemeinverständliche Studien über monistische Philosophie (1899),
with an introduction by I. Fetscher (Stuttgart: Kröner, 1994).
70. Ibid., Anthropogenie, oder Entwicklungsgeschichte des Menschen (Leipzig: Engelmann,
1874), p. 9.
71. Heinrich Wölfflin, Principles of Art History: The Problem of the Development of Style in Later
Art [1915], trans. M.D. Hottinger (New York: Dover, 1929), p. 21.
72. Sigmund Freud, Beyond the Pleasure Principle [1920], trans. C.J.M. Hubback (London,
Vienna: International Psychoanalytical Press, 1922), section IV. In the Introductory
Lectures on Psychoanalysis of 1916 Freud writes that “every individual somehow
recapitulates in an abbreviated form the entire development of the human race”
(quoted in Gould, Ontogeny and Phylogeny, p. 156).
73. WalterBenjamin,OntheMimeticFaculty[1933],inSelectedWritings,vol.2,part2(1931-
1934), pp. 720-722.
74. Eisenstein, “About Stereoscopic Cinema” [1947], pp. 35-36. Concerning the way in
which Eisenstein considered the relation between cinema and biological or organic
processes, we may also recall that already in 1929, remembering having seen the
1912 Pathé film Recette pour faire éclore les roses, Eisenstein had imagined the possibility
of producing a film “on the theme of the Ausdrucksbewegung der Pflanzen [the
notes 437