SERGEI M EISENSTEIN

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Grosz, George 57, 165, 335 Grusin, Jay David 433 Gsell, Paul 257 Guerin, Marcel 171 Gulbransson, Olaf 116, 153, 453, 466, 467 Gunning, Tom 433, 491, 507, 508 Gurevic, Stella 521 Gutenberg, Johannes 62, 176, 245, 494 Guttman, Heinrich 475 Guys, Constantin 170, 471 Hadrian (Emperor of Rome) 33 Haeckel, Ernst 38, 437 Haesaerts, Luc and Paul 287, 499 Hagener, Malte 510, 521 Hals, Frans 140 Hampeln, Karl 192 Hanfstängl, Franz Seraph 159, 469 Hanna, George 488 Harries, Dan 502 Harrison, Charles 495 Hartmann, Alfred 287, 499 Harvard, Charles 466 Hattwick, La Berta W. 197 Hauser, Arnold 490 Hayes, Bill (William) 217, 481 Hearst, William Randolph 194, 195 Heartfield, John 57, 165, 166, 470 Hediger, Vinzenz 2, 7, 8, 347-356, 431, 434, 439, 446, 447, 510, Hegel, Georg Wilhelm Friedrich 242, 276, 270, 353, 355, 366, 367, 370, 371, 439, 489, 513 Heidegger, Martin 329, 507, 519 Heinlein, Robert A. 326 Henry, Michel 364, 513 Henry III (of France) 474 Herder, Johann Gottfried von 37, 437 Heron of Alexandria 480 Heth, Joice 332, 472 Hidalgo, Santiago 491, 506 Higashi, Sumiko 505 Higham, Charles 356, 511 Hill, David Octavius 126, 147, 150, 161, 181, 188, 276, 357, 458, 494, Hippolytus 64 Hitler, Adolf 497 Hjartarson, Benedikt 510 Hochmuth, Dietmar 436, 452 Hogarth, William 54, 111, 143, 256, 263, 358, 452 Hokusai, Katsushika 56, 99, 170, 200, 226, 264, 454, 455 Holbein, Hans 243 Hölderlin, Friedrich 320 Homer 71, 73, 115, 280, 459, 467, 484 Hopwood, Avery 222 Houdini, Harry 202, 479 Hugo, Victor 127, 161, 182, 317, 320, 505 Huhtamo, Erkki 434 Husserl, Edmund 267 Huysmans, Joris-Karl 184 Hyatt, John Wesley and Isaiah 152, 158, 325, 468 Iampolski, Mikhail 7, 294, 296, 303, 339, 340, 357-371, 438, 439, 447, 501-503, 509, 511 Ibsen, Henrik 498 Igor’, Prince of Novgorod-Seversk 452 Iordanskii, Mikhail 408 Ishaghpour, Youssef 329, 330, 507 Iutkevich, Sergei 486 Ivan the Terrible 181, 250 Ivanov, Semion 49, 455 Ivanov, Sergei Vassilievich 203 Ivanov, Viacheslav V. 512 Jacobi, Moritz von 158, 325 Jacobs, Lewis 21, 432, 491 Jaensch, Erich Rudolph 282, 497 James, William 39, 343 Janet, Pierre 286 Janin, Jules 174, 472 Jansen, Zacharias 157, 468 Jeanne, René 274 Jefferson, Thomas 454 Jenkins, Charles Francis 158, 326 index of names 531
Jenkins, Keith 505 Jenkins, Henry 507 Jennings, Michael W. 436, 449, 490, 511 Jephcott, Edmund 490 Jerrold, William Blanchard 473 John the Evangelist of Patmos 479 Jones, Keith 298 Jost, François 491 Joubert-Laurencin, Hervé 445, 446 Joyce, James 35, 49, 258, 459, 512 Jurenev, Rostislav 489, 521, 522 Jutz, Gabriele 510 Kandinsky, Wassily 360, 361, 364, 369, 512, 513 Kapoor, Anish 381, 382 Kapterev, Sergei 490 Karamzin, Nikolai 180, 474 Kartashov, Vitya 336 Kataeva, Olga 7, 8, 431, 438 Kawamura, Aya 496 Keaton, Buster 29, 30 Kellner, Hans 505 Kepley, Vance 521 Kerény, Carl 442 Khanzhonkov, Aleksandr 486 Khmelëv, Nikolai 456 Khokhlova, Aleksandra 458 Khopkar, Arun 7, 373-383, 515 Khrushchev, Nikita 281 King, Samuel Archer 160, 469 Kircher, Athanasius 273 Kirchmayr, Raoul 443 Kittler, Friedrich 301, 355, 442, 491, 503, 511 Kleiman, Naum 3, 7-11, 13-17, 31, 42, 311, 429, 431, 432, 434-436, 442, 449, 455, 480, 487, 501, 505, 509, 512, 516 Kleiman, Vera 7, 9 Koerner, Michelle 298 Kollnitz, Andrea 510 Korn, Arthur 101, 158, 469 Korostin, Alexei Fedorovich 191 Koselleck, Reinhart 329, 507 Kozintsev, Grigori 410 Kozlov, Leonid 13 Kracauer, Siegfried 24, 66, 77-80, 85, 355, 356, 432, 445, 447, 482, 511 Kraiski, Giorgio 519 Kretschmer, Ernst 235, 483 Kristeller, Oskar 447 Kriuchkov, Kuz’ma 154, 467 Kruzhkova, Daria 519 Krylov, Ivan 57, 153, 467 Kubelka, Peter 351, 509 Kubrick, Stanley 379 Kuhn, Dorothea 443 Kuhn, Annette 505 Kuleshov, Lev 101, 127, 249, 250, 280, 334, 410, 457, 458, 486, 490, 498, 500 Kurth, Julius 245, 342, 471 l’Herbier, Marcel 409 La Fontaine, Jean 56, 116, 153, 377, 378, 467, 517 Labarthe, André S. 349 Labas, Aleksandr 470 Labrusses, Rémy 284, 498 Lacan, Jacques 314 Ladwig, Perdita 443 Lagny, Michèle 434, 492 Lahusen, Thomas 509 Laksmana 374 Lalanne, Ernest 496 Lan Fang, Mei 516 Lang, Fritz 349, 350, 356, 511 Langlois, Henri 347, 348, 350, 446 Lanier, Jaron 300 Lapkina, Marfa 250, 335, 336 Larrat, Jean-Claude 446 Latham, Woodville 473 Laura, Ernesto G. 521 Lavater, Johann Caspar 56, 57, 227, 243, 343 Lavin, Irving 511 Lavrentiev, Alexander N. 496 Law, Alma 259, 488, 513 532 index of names
Page 1 and 2:
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
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illustrations by Gustave Doré (183
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Eisenstein of “thingism” [veshc
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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 526 and 527: Index of names NB The page numbers
Page 528 and 529: Brasillach, Robert 21, 272, 274, 32
Page 530 and 531: Didi-Huberman, Georges 7, 309-321,
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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