SERGEI M EISENSTEIN

14. For an illuminating discussion of Eisenstein’s affinity with Daumier, see Ada
Ackerman, “What Renders Daumier’s Art so Cinematic for Eisenstein?” in this
volume.
15. Theodor Adorno, letter to Walter Benjamin [1939], reprinted in Walter Benjamin,
Selected Writings (Cambridge, MA: Belknap Press, 2003), vol. 4, p. 203.
16. “Dynamic Mummification,” p. 112.
17. “Revelation in Storm and Thunder,” here, p. 101.
18. “Dynamic Mummification,” p. 24.
19. “In Praise of the Cine-chronicle,” here, p. 112. Emphasis mine.
20. Eisenstein, “Theatre and Cinema,” p. 10.
21. This slogan concludes Eisenstein’s celebrated essay on Kabuki theater which, it is
worth recalling, begins with a polemic against the common dismissal of Kabuki
based on its extreme conventionalism. See Sergei M. Eisenstein, “An Unexpected
Juncture” [1928], in SW 1, p. 122.
22. Sergei M. Eisenstein, “Perspectives” [1929] in SW 1, p. 159.
23. Sergei M. Eisenstein, “The Mistakes of Bezhin Meadow” [1937], in SW 3, p. 102.
24. Ibid., 101. Emphasis mine.
25. Mikhail Iampolski, “Censorship as the Triumph of Life,” in Socialist Realism without
Shores, ed. Evgenii Aleksandrovich Dobrenko and Thomas Lahusen (Durham: Duke
University Press, 1997), p. 172.
26. Ibid.
27. Ibid.
28. Ibid., p.174.
29. JacquesAumonthasalsonotedthatthe“presuppositions”oftypageare“veryclosely
related to the concept of the ‘global image’ [obraz].” See his Montage Eisenstein
(London: BFI, 1987), p. 141.
30. AsNaumKleimanpointsoutinaforewordtotheEnglishtranslationofMontage,the
text cannot finally be assimilated into the aesthetics of Socialist Realism: “Had it
[Montage]beenpublishedattheendofthe30s,itcouldnothaveavoidedaccusations
of Formalism. And no quotations or formulations, naïvely framing Eisenstein’s
theoretical text, would have saved it.” Naum Kleiman, “On the Story of ‘Montage
1937,’” in Towards a Theory of Montage, in SW 2, p. xx.
31. Sergei M. Eisenstein, “Montage 1937” [1937], in Towards a Theory of Montage, in SW
2, p. 27.
32. Francis Galton, Inquiries into Human Faculty and Its Development (London: Macmillan,
1883),p.342,quotedinAllanSekula,“TheBodyandtheArchive,”October39(Winter
1986), p. 44.
33. For example, if the total exposure was to last ten seconds and there were ten images
in the sample, then each image would get an exposure time of exactly one second.
Jonathan Finn, Capturing the Criminal Image: From Mug Shot to Surveillance Society
(Minneapolis: University of Minnesota Press, 2009), 22.
34. Francis Galton, “On Generic Images,” in the Proceedings of the Royal Institution 9
(1879), p. 166, quoted in Sekula, “The Body and the Archive,” p. 47.
35. Ibid. Emphasis mine.
36. Ibid.
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