SERGEI M EISENSTEIN

297. El Lissitzky, “Topographie der Typographie,” Merz 4 (1923), republished in El
Lissitzky. Maler Architekt Typograf Fotograf. Erinnerungen Briefe Schriften, ed. S. Lissitzky-
Küppers (Dresden: Verlag der Kunst,1992), p. 360.
298. Walter Benjamin, “One-Way Street,” in Selected Writings: Volume 1, 1913-1926, ed.
Marcus Bullock and Michael W. Jennings (Cambridge, MA: The Belknap Press of
Harvard University Press, 1996), p. 456.
299. The note (whose archival reference is RGALI, f.1923, inv.1, 1030) is translated in
English in Oksana Bulgakowa, “Eisenstein, the Glass House, and the Spherical
Book,” Rouge 7 (2005), http://www.rouge.com.au/7/eisenstein.html. On Eisenstein’s
spherical book, see Oksana Bulgakowa, “Das kügelformige Buch von Sergei
Eisenstein als ein übersehenes Angebot der universellen Kunsttheorie,” in Cultural
Turn, ed. L. Musner, G. Wunberg, and C. Lutter (Wien: Turia & Kant, 2002), pp. 31-
108.
300. This note, dated September 17, 1947, is published in the back cover of Eizenshtein,
Metod, vol. 2.
301. Sergei M. Eizenshtein, “Torito,” in IP 4, p. 632.
302. See Giuliana Bruno, Atlas of Emotion: Journeys in Art, Architecture, and Film (London:
Verso, 2002).
303. Sergei M. Eisenstein, “Montage and Architecture,” in Towards a Theory of Montage, in
SW 2, p. 60.
304. The archival reference of this drawing and of the drawings and notes on “The
Volume and the Space” that we will comment in the following pages is the
following:CinemaMuseum,40-1-12,pp.1,2,3,4.AccordingtoNaumKleiman,the
drawingwasexecutedbetweenDecember1945andJanuary1946,anditisconnected
both to the essay “Rodin and Rilke” (completed in July 1945) and to the Notes.
305. On the history of the atlas-form, see Georges Didi-Huberman, Atlas ou le gai savoir
inquiet. L’oeil de l’histoire 3 (Paris: Minuit, 2011). See also Antonio Somaini,
“Übungsatlas: The Picture Atlas and the Training of the Gaze in Benjamin and
Sander,” in Sichtbarkeiten 4. Anordnen, Darstellen, ed. Mira Fliescher, Fabian
Goppelsröder, Dieter Mersch. Berlin: Diaphanes, 2015 (forthcoming).
306. On the unrealized film project “Glass House,” see, note 137.
307. On Eisenstein’s interpretation of the myth of Dionysus in Montage, see supra, note
163.
308. See Riegl, Late Roman Art Industry (see supra, note 205).
309. For the archival reference of these two drawings, see supra, note 304.
310. On sculpture, extasis, and montage in Eisenstein, see Giovanni Careri, “Ejzenštejn e
Bernini.Montaggioecomposto,”inSergejEjzenštejn.Oltreilcinema,ed.PietroMontani
(Venezia:Bibliotecadell’immagine–LaBiennalediVenezia,1991),pp.263-276,and
also Bernini: Flights of Love, the Art of Devotion (Chicago: Chicago University Press,
1995).
311. See “Dynamic Mummification,” p. 122.
312. See supra, note 122.
313. See Strauven, “Media Archaeology.”
314. Elsaesser, “The New Film History as Media Archaeology,” p. 113.
notes 449