SERGEI M EISENSTEIN

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Index of names NB The page numbers indicated in bold refer to the texts and the notes written by Eisenstein Thepagenumbersnotindicatedinboldrefertotheintroductionsandthecritical essays Abhinavagupta 373, 382, 383, 515 Ackerman, Ada 7, 255-265, 431, 441, 487, 508 Ackerman, Phyllis 208, 210, 479 Adachi-Rabe, Kayo 511 Adam 43, 103 Adam-Salomon, Antoine Samuel 159, 469 Adamson, Robert 458, 494 Adonis 64 Adorno, Theodor 337, 508 Aeschylus 190 Aesop 56, 116, 153, 467 Agadzhanova, Nina 485 Agrippa 33 Akhmatova, Anna 430 Albera, François 7, 9, 267-288, 355, 429, 431-433, 436, 437, 441-444, 448, 455, 459, 466, 488, 489, 491- 495, 505, 516 Aleksandrov, Grigory 55, 517 Alexander the Great (of Macedonia) 467 Alhazen (Ibn al-Haytham) 176, 244 Alpatov, Mikhail 42 Alschuler, Rose H. 197 Altekamp, Stefan 436 Althusser, Louis 276, 323, 329, 494, 505, 507 Altman, Rick 432 Amengual, Barthélémy 436 Amman, Jost 471 Ampère, André-Marie 489 Anandavardhan 373, 382, 383, 515 Andersen, Hans Christian 57, 116, 153, 161 Andrew, Dudley 432, 433, 445 Andrievskii, Aleksandr 455 Andriopoulos, Stefan 491 Ankersmit, Frank 505, 507 Antelme, Robert 314, 504 Anthony, Norman 197 Arasse, Daniel 287 Archipenko, Alexander 96 Arendt, Hannah 352 Ariadne 38 Aristarco, Guido 410, 412 Aristophanes 190 Aristotle 37, 244, 273, 362, 512 Arkin, David 42 Arnheim, Rudolf 410, 411, 412, 522 Arnolfini, Giovanni 127, 145, 191, 461 Arp, Hans 450 Arsenjuk, Luka 7, 8, 289-298, 500 Artaud, Antonin 375, 435, 516 Artemisia (of Caria) 467 Arvatov, Boris 279 Atasheva, Pera 13, 14, 16 Atget, Eugène 57, 147, 161, 172, 182, 188 525
Attis 64 Auerbach, Erich 319 Aumont, Jacques 433, 439, 443, 500- 502, 509 Auriol, Jean George 272, 491 Avenarius, Georgii Aleksandrovich 489 Avraamov, Arsenii 480 Bacchus 113 Back, Jean 504 Bacon, Roger 176, 244 Bakhtin, Mikhail 15, 270, 430 Balázs, Béla 66, 410 Balibar, Étienne 323, 329, 505, 507 Balla, Giacomo 55, 67, 463 Balzac, Honoré de 34, 67, 76, 122, 125, 161, 336, 337, 452, 455 Barbaro, Daniele 157, 244, 325, 468 Barbaro, Umberto 410 Bardèche, Maurice 21, 272, 274, 326, 350, 432, 491, 506, 510 Barnum, Phineas Taylor 26, 58, 172, 178-181, 332, 472, 475 Barr, Alfred 258, 487 Barry, Iris 350, 491 Barthes, Roland 309, 313-318, 504 Bataille, Georges 30, 309, 319, 364, 435, 498, 512 Batu Khan 210, 480 Baudelaire, Charles 125, 457, 471, 475, 490, 495 Baudry, Jean-Louis 301, 503 Baumbach, Nico 7, 8, 299-307, 502 Bazin, André 15, 24, 77, 80, 81-83, 85, 275-277, 303, 331, 347, 348, 402- 404, 432, 445, 446, 482, 493-495, 497, 508, 520 Beardsley, Aubrey 116, 453 Beato, Felice 160 Beaunier, André 478 Beauregard, Georges de 349 Becker Lennon, Florence 123, 457 Belinskii, Vissarion 465 Beller, Jonathan 300, 306, 502, 503 Belting, Hans 433 Bely, Andrei 49 Benckendorff, Alexander 71 Benjamin, Walter 15, 24-25, 34, 36, 38, 66, 77, 80, 84-91, 278, 304, 305, 309, 310, 324, 365, 436, 437, 447- 449, 475, 485, 488, 490, 498, 503, 505, 508, 511 Bergala, Alain 318, 504 Bergson, Henri 300 Bernini, Gian Lorenzo 169, 353, 455 Bessy, Maurice 476, 493 Bharata 515, 518 Bharatha Iyer, K. 516 Biebl, Sabine 432 Bierce, Ambrose 211, 373, 481 Bismarck, Otto von, 269 Black, James Wallace 160, 469 Bloch, Ernst 30, 85, 86, 309, 435, 447, 503 Bloom, Peter J. 413, 522 Boborykin, Dmitrii Petrovich 142, 462 Böcklin, Arnold 62 Bode, Rudolf 260 Bogdanovich, Ippolit 453, 466, 479 Böhme, Fritz 480 Bolter, Richard 433 Boltianskii, Grigori 408 Bolz, Norbert 355, 511 Bonaparte, Napoléon Joseph Charles Paul 177-179, 181, 474, 475 Bonaparte, Jérôme 475 Borchardt, Rudolph 88 Bordina, Alessandro 433 Bordwell, David 304, 326, 435, 438, 443, 492, 493, 499, 506 Borgia, Alexander 71 Borglum, John Gutzon 454 Bosch, Hieronymus 56, 166 Bossert, Helmuth Th. 475 Botticelli, Sandro 143, 256, 358, 462 Bourke-White, Margaret 313 Bowlt, John E. 496 Brady, Matthew 147, 150, 160, 182 Bragaglia, Anton Giulio 410 526 index of names
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FILM THEORY IN MEDIA HISTORY SERGEI
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Film Theory in Media History explor
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This book is published in print and
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4. Act Now!, or For an Untimely Eis
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tors would like to warmly thank Jan
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not include here the diary entries
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Foreword Naum Kleiman In1997,onthee
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ideological “totalitarianism,”
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of writing the multivolume book on
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History of the USSR Academy of Scie
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Ill. 1 - A handwritten page from th
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Section 2 (Theory, History, Creatio
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dial perspective, as a medium remed
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only within the wider context of a
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three historicalperiods areintercut
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contained in Metod, the speech give
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One of the reasons why the Notes ca
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conception of the phases, while art
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presents it as one of the most impo
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ories continues to be present, and
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the past, the official aesthetic di
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In Montage, “synthesis” becomes
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ances of the idea of a total, synth
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“The Greeks, Diderot, Wagner, Scr
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sional films, as he writes in “Ab
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in literature in architecture etc.,
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up. The text “In Praise of the Ci
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nents. They both belong to “the h
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invented by Fox Talbot and the begi
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The only moment in which Eisenstein
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Khovanshchina, white as a tradition
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The myths and mysteries of Dionysus
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our perceptions work. This is not o
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is now what Eisenstein calls - with
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elements - a state that presumes th
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Such a dynamic generality of “the
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In writing poetry one is always aid
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His aspiration is toujours inassouv
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“primordial impulse” (ursprüng
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establishing the unmovable law of d
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time, the image of things is likewi
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possibilities, but rather thanks to
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[Riesenfilm] depicting the temporal
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panying “The Dramaturgy of Film F
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Both Eisenstein and Benjamin had fo
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In1932[sic]Ihadtriedtoorganizemythe
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Ill. 5 - A map drawn by Eisenstein
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Ill. 7 - Sergei M. Eisenstein, a dr
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The passage from the act of touchin
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total,environmentalworksofartcapabl
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montage, and later, audio-visual co
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same shift in awareness now as occu
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Part One Notes for a General Histor
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1 THE HEIR 1 Date: 22-26.X.1946 [RG
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The Phenomenon of Cinema (Historyof
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Throughallphenomenaofnature(biology
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CHRONICLE If we follow along the li
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Ill. 7 - Drawing showing an example
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2 DYNAMIC MUMMIFICATION NOTES FOR A
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Ill. 1 - A page from Eisenstein’s
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ence and the actors are one and the
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Date: Moscow, 10.VI.47 [RGALI1923-2
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Lostsecretsofpainterlyeffectsofearl
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image of an episode, the image of t
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Ill. 6 - Both Ill. 5 and 6 are take
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Ill. 9 - Another drawing containg a
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Ill. 11 - Hubert and Jan Van Eyck,
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Date: 24.XII.47 [Muzeikino40-1-12/1
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Ermolova 53 is“morerealistic”:t
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The pure reproduction of sound, as
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HISTORICAL EVALUATIONS Howtolookatd
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Multi-pointperspective.“TheLastSu
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#6. Color-stereo-television Briefsu
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The role of the development of the
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Date: 28.XII.47 One more device*: M
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Animat[ion] and the history of grap
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Ill. 28 - One of the most popular l
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Stained glass windows (999) 115 Asa
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C[amille]Silvy, 127 pupilofPaulDela
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1870 - America, the announcement of
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dynamic mumification 163
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Catalogue of the Nilsson Collection
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Photomontage Photomontage Composite
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Ill. 37 - Detail of Ill. 29 showing
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Callot Misèresdelaguerre Edgar Deg
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NB.Thetypicalpassionofprogressivefi
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3. Nickelodeon, Ventriloquy, Panopt
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American shots of strikes — 1902,
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Documentary claims TheMuséeGrévin
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TheSpanishandMoorishcottagesofHolly
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2) The neglecting of the organic me
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Ill. 45 and 46 - Edgar Dégas, Les
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Thehistoryoftheproblemoftime Thehis
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Le Ciel. Illusions, Visions LeCabar
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Moralité - it’s a “diary of ev
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cès ing ivit ne 107 en lede rre de
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NB. NB. In posters blaring titles a
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Here the authorship both of the tex
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Ill. 58 - El Greco, The Agony in th
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endings of the tactile nerves are f
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And the most curious thing is that
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Ill. G, H, and I - Photograms from
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A Peruvian vessel with the sound of
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The Uzbeks’ need for incessant ba
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2)Howtheinventor’sthoughtstumbles
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Ill. 2 - Drawing dated 7.VII.47 on
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One can read the principle of “sy
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Butthunderinconnectionwithabsolutel
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(theEnglishtermis“windinstruments
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(NB.BothhereandtherethereisaflightI
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4 IN PRAISE OF THE CINE-CHRONICLE 1
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Incidentally, the prototype for thi
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Recollections of this phase (of the
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Thesecondsex*is“drawnon” forirr
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Ill. 6 Butinany: Ill. 7 Also[the“
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The aestheticized game with levels
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7.XI.47 [RGALI1923-2-1031] ÜBERGAN
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Ill. M, N, and O - Photograms from
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And more complex: metaphorical stru
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The year 1050. Lenses in antiquity.
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Ill. P, Q, and R - Photograms from
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Old and New didn’t turn out to be
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Traceherethegeneralgenealogyofthepr
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Part Two Essays
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Various (in terms of time) phases o
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From Expressive Movement to “Cine
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Ill. 2 - Honoré Daumier, Robert Ma
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disjunction as producing a “motor
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For Eisenstein, Futurism is little
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2. “The Heritage We Renounce”:
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goal was to encourage research and
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elations of intersection, belonging
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The case of Terry Ramsaye’s A Mil
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Kurt-WilhelmMarek(whosignedhistexts
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painters to raise a monument to the
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The “Cradle” of Cinema Oneofthe
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whole series of films dealing with
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course oneconsidersthehypermemoryto
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of a socio-political type often dom
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From then on Eisenstein connects go
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3. The Notes for a General History
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Ill. 1 - The first drawing: the bar
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An image of a barricade appears in
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the essential interpretation of phe
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note that this opposition between t
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4. Act Now!, or For an Untimely Eis
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Hugo Munsterberg was pioneering in
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with a language of ideas/sensations
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authorship of the film as it made p
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career. In the 1920s, of course, th
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Ill. 1 - Alexander Rodchenko, poste
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given in the form of single frames
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which, according to him, gave the e
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moment” which requires emphasis.
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which is neither fixed nor obvious.
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they are paranoid and instrumentali
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6. Eisenstein’s Absolutely Wonder
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which point towardagenealogical mod
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such chronologies lending themselve
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“here today, gone tomorrow,” or
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preted as a “displacement” in w
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7. Dynamic Typicality Abe Geil Eise
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present a “defined character pass
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caste system gave each person a phy
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years leading up to the adoption of
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Galton staked the superiority of hi
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ens to reverse the direction of cau
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principle of typicality offers a wa
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e seenfrom hisveryearly writingsBaz
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origin and descent. Reflecting on f
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metaphors lifted from biology. “T
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sublation. In fact one can even arg
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of art and the “realistic tendenc
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of an event (Memling, Botticelli’
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ary concepts as point of convergenc
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nant sound (dominante) is the princ
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internal affect takes place. Eisens
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English under the title “A Dialec
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Moreover, it is precisely the heter
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diction penetrates into the affect
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10. Distant Echoes 1 Arun Khopkar
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children, the craven-hearted and pr
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Nonanthropocentric View of the Worl
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workman’s tools, etc. One of the
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Everyone had drunk far too much tha
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Whether it is a sexual ecstasy, an
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mark next toit): “A friendly coop
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than a static one (the organism as
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It would be legitimate to recognize
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12. Eisenstein’s Mummy Complex: T
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ernity. One of the pillars of this
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tween them. The first category is d
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A pivot point in this conception, t
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“cine-chronicle” is thinking of
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ality for humanity and its subjecti
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13. Sergei Eisenstein and the Sovie
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was to focus on the Soviet cinema o
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neers such as Eisenstein) shaped mu
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the Venice Film Festival, sponsored
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claim to the universality of aesthe
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Bibliography Works by Eisenstein in
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Mettre en scène. Translated by Jac
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Ivanov, Viacheslav. “Estetika Eiz
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Roshal’, Lev. Gore umu, ili Eizen
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Iampolski,Mikhail.“TheoryasQuotat
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Taylor, Richard, and Ian Christie,
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Works on Eisenstein’s Drawings Ai
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6. Kinovedcheskie zapiski 36/37 (19
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5. In his essay published in this v
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28. The notion of “cultural serie
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Montage forthcoming from the Univer
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expressive movement of plants] […
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98. Montazh, p. 400. 99. Towards a
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cinematic dispositif as an open, fl
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indifferente (Venezia: Marsilio, 19
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244. Ibid., p. 12. 245. On the pres
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267. Jean Epstein, “L’Intellige
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315. Onthewayinwhichdifferentdefini
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Spanish bandit El Maragato, in 1806
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2. Verweile doch, du bist so schön
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once set off down such a promising
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[“Dvizhenie tsveta”] for the un
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“Pushkin and Gogol” (1946-48) h
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piecesofmusicandcreatedabout300pain
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along with a plan of the city. The
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1948) (cf. S.M. Eisenstein, Glass H
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108. Reference to one of the most p
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134. Eisenstein devoted several ent
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154. About this see Eisenstein’s
Page 475 and 476: illustrations by Gustave Doré (183
Page 477 and 478: Eisenstein of “thingism” [veshc
Page 479 and 480: Fedotov (1815-1852), one of Eisenst
Page 481 and 482: ofnatural phenomena andofthemytholo
Page 483 and 484: to shoot double exposures for Bezhi
Page 485 and 486: cinemawizardoftelevision,whowillbef
Page 487 and 488: 4. Eisenstein writes about this in
Page 489 and 490: 16. Unit 881, fund 1923, opus 2, Ru
Page 491 and 492: thousands of European and American
Page 493 and 494: “teleological” default for whic
Page 495 and 496: 46. Georges Friedmann, “Sur une h
Page 497 and 498: EarlySovietCulture(DeKalb:NorthernI
Page 499 and 500: themselves” without the interfere
Page 501 and 502: sculptural group on the opera build
Page 503 and 504: characters’; in other words of an
Page 505 and 506: 3. Lev Vygotsky, The Psychology of
Page 507 and 508: [New Brunswick: Rutgers University
Page 509 and 510: Turn-of-the-Century.” in Rethinki
Page 511 and 512: 37. Galton, Inquiries into Human Fa
Page 513 and 514: 26. Cf. my “A Cinema of Memory in
Page 515 and 516: 31. “À partir de la félicité d
Page 517 and 518: 7. Many of the traditional theatric
Page 519 and 520: deities, many of which are phenomen
Page 521 and 522: 12. Philip Rosen, Eisenstein’s Mu
Page 523 and 524: 17. Cristophe Dupin, “The Postwar
Page 528 and 529: Brasillach, Robert 21, 272, 274, 32
Page 530 and 531: Didi-Huberman, Georges 7, 309-321,
Page 532 and 533: Grosz, George 57, 165, 335 Grusin,
Page 534 and 535: Lawrence, D.H. (David Herbert) 435
Page 536 and 537: Nil'sen, Vladimir 481 Nirnsee, Erns
Page 538 and 539: Salis, Rodolphe 274 Salome 69 Salt,
Page 540 and 541: Vatsyayan, Kapila 516 Veiller, Baya
Page 542 and 543: Contributors The Editors NaumKleima
Page 544 and 545: and Television, Comparative Critica
Page 546: uted seminal papers on film aesthet
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SERGEI M EISENSTEIN

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