SERGEI M EISENSTEIN

134. Eisenstein devoted several enthusiastic pages in his textbook Direction. The Art of the
Mise-en-scène[Rezhissoura–Iskusstvomisantsena](1934)andinMontage(1937)toEugène
Atget and his photography (cf Montazh, pp. 264-267; the pages are part of a section
which is not translated in SW2).
135. David Brewster (1781-1868) was a Scottish physicist, mathematician, astronomer,
inventor, writer, and university principal. Most noted for his contributions to the
field of optics, his inventions include the kaleidoscope and an improved version of
the stereoscope.
136. A little photographic book entitled Le Rêve, containing 20 sequential photographs
illustratingthevariouseventshappeningduringthedreamofitsfemaleprotagonist,
canbefoundamongthebooksbelongingtoEisenstein’slibrarywhicharepreserved
at the Eisenstein Center in Moscow.
137. The reference is probably to Ernest Maindron’s catalogue Les programmes illustrés des
théâtres et des cafés-concerts. Menus, cartes d'invitation, petites estampes, etc. (Paris: Nilsson,
1897), which was illustrated by lithographs by Toulouse-Lautrec and other wellknown
artists, depicting the “pleasures of Paris.”
138. The term Klebebilder in German indicates little adhesive images that can be attached
onto a surface.
139. “Ladies’ Duel” – At the same time, a recurring motif in the popular press since the
19th and early 20th century (see for example “Duel de femmes. L’amour qui tue” in
Faits Diverses Illustrés, 7 septembre 1907), and the title of a novella from the series
Russian Court Stories (Russische Hofgeschichten, 1873-74) by the Austrian writer Leopold
von Sacher-Masoch (1836-1895). These novellas represent the manners and morals
of the Russian court of the times of Catherine the Great, and depict, often
grotesquely, the luxury, the dissipation, and the unbridled passions of the beautiful,
voluptuous, and cruel empress and her clique.
140. The Arbeiter Illustrierte Zeitung [Workers’ Illustrated Magazine], known also as AIZ, was a
weekly German illustrated magazine published between 1924 and 1933 in Berlin,
then in Prague and finally in Paris until 1938. It was also known for the covers
displaying propagandistic photomontages by the German artist John Heartfield
(1891-1968).
141. During the first half of the 1920s, both László Moholy-Nagy and Man Ray had
researched the possibility of producing photographic images without recurring to a
photographic camera. These images, produced by simply exposing the photosensitive
paper to the light, were called Fotogrammen or Kameralose Aufnahmen by
Moholy-Nagy, and rayographs by Man Ray.
142. “La truie qui file” is the name of several old French restaurants (in Paris, Chartres,
and other cities), whose sculpted signs were decorated with ingenious “composite”
figures.
143. In the 18th and 19th centuries it was fashionable to decorate fans and screens with
paper cut-outs, sometimes made by their owners themselves (including the poet
George Gordon Byron).
144. OST (Obshchestvo Khudozhnikov Stankovistov, Society of Easel Painting) existed in
Moscow between 1925 and 1932; its members included Aleksandr Labas, Ariadna
Tyshler, Pëtr Vil’iams, Aleksandr Deineka, Andrei Goncharov, Iurii Pimenov and
470 notes