SERGEI M EISENSTEIN

More documents

Recommendations

Info

Lawrence, D.H. (David Herbert) 435 le Bargy, Charles 474 Le Corbusier (Jeanneret, Charles- Édouard) 35, 56, 96, 156, 468 Le Gac, Franck 7 Le Gray, Gustave 158, 276, 469 Le Maître, Barbara 434 Le Secq, Henri 150, 182 Lebedev, Nikolaï 9, 16, 272, 406, 408, 521 Lefebvre, Martin 404, 491, 521 Legendre, Maurice 287, 499 Lemon, Lee T. 501 Lenin (Ulyanov, Vladimir Il’ich) 29, 30, 104, 329, 435, 485, 486, 488, 496 Léon, Benjamin 8 Lesser, Sol 78 Lessing, Gotthold Ephraim 257, 351, 355, 459, 487 Leutrat, Jean-Louis 510 Lévi-Strauss, Claude 270 Levin, Thomas Y. 447 Levinson, André 489 Lévy-Bruhl, Lucien 31, 44, 87, 413, 414, 435, 448, 497 Lewin, Kurt 497 Leyda, Jay 365, 412, 430, 436, 445,478, 487, 491, 493, 511, 513, 514, 517, 520-522 Liesegang, Franz Paul 272, 491 Lifar', Sergei Mikhailovich (Serge) 479 Lincoln, Abraham 195, 454 Lind, Jenny 181, 475 Lindbergh, Charles 219 Lindsay, Vachel 272, 273 Lipps, Theodor 48, 110 Lissitzky, El (Lazar) 90, 449, 450 Lo Duca, Giuseppe Maria 476, 493 London, Jack 173 Lorant, Stefan 195 Louis XVI 58, 177, 178 Louverture Toussaint 27 Lövgren, Hakan 439 Loyola, Íñigo López de (St. Ignatius of Loyola) 364 Ludwig, Émile 34, 436 Lukács, György 355, 490 Lumière, Auguste and Louis 15, 21, 58, 82, 272, 277, 281 Lundemo, Trond 2, 7 Luria, Alexander 9, 10, 32, 282, 283, 489, 497 Lutter, Christina 449 Ma Fen 471, 169 Macaire, Robert 260, 261 MacCabe, Colin 510 Macherey, Pierre 513 MacKay, John 8, 447 Maindron, Ernest 470 Malevich, Kazimir 358, 359, 362, 475, 512 Malki, Aduan 313 Mallarmé, Stéphane 146, 459, 472 Malraux, André 81, 287, 403, 446, 498 Man Ray (Rudzitsky, Emmanuel) 57, 165, 182, 183, 243, 470 Manet, Edouard 171, 354, 490 Mannoni, Laurent 434, 441 Manovich, Lev 271, 300, 490, 502 Marabello, Carmelo 8 Marat, Jean-Paul 58, 178, 179 Marek, Kurt-Wilhelm (C.W. Ceram) 275 Marey, Étienne-Jules 55, 158, 169, 325, 357, 463 Marie-Antoinette (d'Autriche) 58, 177, 178 Marion, Philippe 433 Markandeya 376 Marker, Chris 302 Marshall, Herbert 437, 487, 499, 512 Martin, Paul 150, 161, 182 Marx, Karl Heinrich 112, 150, 331 Matias, Diana 506 Matisse, Henri 235 Mauriac, Claude 273 Mauss, Marcel 309, 319 index of names 533
Mauthner, Fritz 128, 459 Mayakovsky, Vladimir 71, 320, 504 Mayhew, Henry 176, 473 Mayorov, Nikolai 440 McLeish, William 160, 469 Medvedkin, Aleksandr 302 Megrue, Roi C. 222 Meissonier, Jean-Louis Ernest 183 Méliès, Georges 174, 273, 274, 476, 492 Mellan, Claude 186 Melot, Jacques 493 Memling, Hans 54, 143, 256, 358, 462 Mengoni, Angela 8, 433, 447 Menzel, Adolph 170, 286, 471 Merleau-Ponty, Maurice 267, 489 Mersch, Dieter 449 Metz, Christian 301, 503 Meyer, Michel 362, 365, 512 Meyerhold, Vsevolod 248, 258, 337, 410, 487, 516 Michal, Holquist 430 Michaud, Philippe-Alain 8 Michaud, Yves 519 Michelangelo (Michelangelo di LodovicoBuonarrotiSimoni)56,62, 103, 152, 466 Michelson, Annette 437, 447, 503 Mihailova, Mihaela 7 Miller, Jamie 522 Misler, Nicoletta 441 Mitry, Jean 274 Mnikh, Daniil (Daniel of Kiev [Daniil Palomnik]) 180 Moholy-Nagy, László 57, 86, 90, 165, 182, 183, 243, 309, 411, 448, 470 Moiso, Francesco 443 Molotov, Vyacheslav 464 Montagu, Ivor 412, 491 Montanari, Tomaso 498 Montani, Pietro 7, 385-391, 431, 439, 443, 449, 518, 519 Montmasson, Joseph-Marie 62, 442, 494 Moorhead, J.K. 437 Morin, Edgar, 279, 413 Morozov, Nikolai Aleksandrovich 218, 479 Moskvin, Ivan 456 Moussinac, Léon 20, 272, 276, 408, 409, 412, 432, 489, 491, 494, 521 Mukhina, Vera 42 Mülder-Bach, Inka 432 Mumford, Lewis 60, 101, 157, 272, 325, 344, 442, 466, 468 Munch, Edvard 54, 140,146, 235 Muniak, Lindsey 487 Munslow, Alun 505 Munsterberg, Hugo 301, 412, 442 Muradeli, Vano 430 Murašov, Jurij 439 Musner, Lutz 449 Musser, Charles 433 Mussolini, Benito 177, 411 Mussorgski, Modest 61 Muybridge, Eadweard 78, 79, 82, 143, 150, 357, 463 Nadar (Tournachon, Gaspard-Félix) 127, 147, 150, 160, 182, 455, 456, 458 Nagel, Alexander 433 Nalvet (Abbé Nalvet) 244 Nappel’baum, Moisei Solomonovich 148, 465 Narcissus 457, 495 Negretti, Henry 160, 469 Nekrasov, Nikolai 465 Nero (Emperor) 33 Nesbet, Anne 522 Neyrat, Cyril 448 Nicole, Didier 260 Nielsen, Vladimir 494 Niépce, Nicéphore 82, 150, 158, 181, 244, 277, 325 Nietzsche, Friedrich Wilhelm 46, 319, 388, 440, 498, 506 Nijinsky, Vatslav 201, 479 Nikitin, Afanasii 474 534 index of names
Page 1 and 2:
FILM THEORY IN MEDIA HISTORY SERGEI
Page 3 and 4:
Film Theory in Media History explor
Page 5 and 6:
This book is published in print and
Page 7 and 8:
4. Act Now!, or For an Untimely Eis
Page 9 and 10:
tors would like to warmly thank Jan
Page 11 and 12:
not include here the diary entries
Page 14 and 15:
Foreword Naum Kleiman In1997,onthee
Page 16 and 17:
ideological “totalitarianism,”
Page 18:
of writing the multivolume book on
Page 21 and 22:
History of the USSR Academy of Scie
Page 23 and 24:
Ill. 1 - A handwritten page from th
Page 25 and 26:
Section 2 (Theory, History, Creatio
Page 27 and 28:
dial perspective, as a medium remed
Page 29 and 30:
only within the wider context of a
Page 31 and 32:
three historicalperiods areintercut
Page 33 and 34:
contained in Metod, the speech give
Page 35 and 36:
One of the reasons why the Notes ca
Page 37 and 38:
conception of the phases, while art
Page 39 and 40:
presents it as one of the most impo
Page 41 and 42:
ories continues to be present, and
Page 43 and 44:
the past, the official aesthetic di
Page 45 and 46:
In Montage, “synthesis” becomes
Page 47 and 48:
ances of the idea of a total, synth
Page 49 and 50:
“The Greeks, Diderot, Wagner, Scr
Page 51 and 52:
sional films, as he writes in “Ab
Page 53 and 54:
in literature in architecture etc.,
Page 55 and 56:
up. The text “In Praise of the Ci
Page 57 and 58:
nents. They both belong to “the h
Page 59 and 60:
invented by Fox Talbot and the begi
Page 61 and 62:
The only moment in which Eisenstein
Page 63 and 64:
Khovanshchina, white as a tradition
Page 65 and 66:
The myths and mysteries of Dionysus
Page 67 and 68:
our perceptions work. This is not o
Page 69 and 70:
is now what Eisenstein calls - with
Page 71 and 72:
elements - a state that presumes th
Page 73 and 74:
Such a dynamic generality of “the
Page 75 and 76:
In writing poetry one is always aid
Page 77 and 78:
His aspiration is toujours inassouv
Page 79 and 80:
“primordial impulse” (ursprüng
Page 81 and 82:
establishing the unmovable law of d
Page 83 and 84:
time, the image of things is likewi
Page 85 and 86:
possibilities, but rather thanks to
Page 87 and 88:
[Riesenfilm] depicting the temporal
Page 89 and 90:
panying “The Dramaturgy of Film F
Page 91 and 92:
Both Eisenstein and Benjamin had fo
Page 93 and 94:
In1932[sic]Ihadtriedtoorganizemythe
Page 95 and 96:
Ill. 5 - A map drawn by Eisenstein
Page 97 and 98:
Ill. 7 - Sergei M. Eisenstein, a dr
Page 99 and 100:
The passage from the act of touchin
Page 101 and 102:
total,environmentalworksofartcapabl
Page 103 and 104:
montage, and later, audio-visual co
Page 105 and 106:
same shift in awareness now as occu
Page 108 and 109:
Part One Notes for a General Histor
Page 110 and 111:
1 THE HEIR 1 Date: 22-26.X.1946 [RG
Page 112 and 113:
The Phenomenon of Cinema (Historyof
Page 114 and 115:
Throughallphenomenaofnature(biology
Page 116 and 117:
CHRONICLE If we follow along the li
Page 118 and 119:
Ill. 7 - Drawing showing an example
Page 120 and 121:
2 DYNAMIC MUMMIFICATION NOTES FOR A
Page 122 and 123:
Ill. 1 - A page from Eisenstein’s
Page 124 and 125:
ence and the actors are one and the
Page 126 and 127:
Date: Moscow, 10.VI.47 [RGALI1923-2
Page 128 and 129:
Lostsecretsofpainterlyeffectsofearl
Page 130 and 131:
image of an episode, the image of t
Page 132 and 133:
Ill. 6 - Both Ill. 5 and 6 are take
Page 134 and 135:
Ill. 9 - Another drawing containg a
Page 136 and 137:
Ill. 11 - Hubert and Jan Van Eyck,
Page 138 and 139:
Date: 24.XII.47 [Muzeikino40-1-12/1
Page 140 and 141:
Ermolova 53 is“morerealistic”:t
Page 142 and 143:
The pure reproduction of sound, as
Page 144 and 145:
HISTORICAL EVALUATIONS Howtolookatd
Page 146 and 147:
Multi-pointperspective.“TheLastSu
Page 148 and 149:
#6. Color-stereo-television Briefsu
Page 150 and 151:
The role of the development of the
Page 152 and 153:
Date: 28.XII.47 One more device*: M
Page 154 and 155:
Animat[ion] and the history of grap
Page 156 and 157:
Ill. 28 - One of the most popular l
Page 158 and 159:
Stained glass windows (999) 115 Asa
Page 160 and 161:
C[amille]Silvy, 127 pupilofPaulDela
Page 162 and 163:
1870 - America, the announcement of
Page 164 and 165:
dynamic mumification 163
Page 166 and 167:
Catalogue of the Nilsson Collection
Page 168 and 169:
Photomontage Photomontage Composite
Page 170 and 171:
Ill. 37 - Detail of Ill. 29 showing
Page 172 and 173:
Callot Misèresdelaguerre Edgar Deg
Page 174 and 175:
NB.Thetypicalpassionofprogressivefi
Page 176 and 177:
3. Nickelodeon, Ventriloquy, Panopt
Page 178 and 179:
American shots of strikes — 1902,
Page 180 and 181:
Documentary claims TheMuséeGrévin
Page 182 and 183:
TheSpanishandMoorishcottagesofHolly
Page 184 and 185:
2) The neglecting of the organic me
Page 186 and 187:
Ill. 45 and 46 - Edgar Dégas, Les
Page 188 and 189:
Thehistoryoftheproblemoftime Thehis
Page 190 and 191:
Le Ciel. Illusions, Visions LeCabar
Page 192 and 193:
Moralité - it’s a “diary of ev
Page 194 and 195:
cès ing ivit ne 107 en lede rre de
Page 196 and 197:
NB. NB. In posters blaring titles a
Page 198 and 199:
Here the authorship both of the tex
Page 200 and 201:
Ill. 58 - El Greco, The Agony in th
Page 202 and 203:
endings of the tactile nerves are f
Page 204 and 205:
And the most curious thing is that
Page 207 and 208:
Ill. G, H, and I - Photograms from
Page 209 and 210:
A Peruvian vessel with the sound of
Page 211 and 212:
The Uzbeks’ need for incessant ba
Page 213 and 214:
2)Howtheinventor’sthoughtstumbles
Page 215 and 216:
Ill. 2 - Drawing dated 7.VII.47 on
Page 217 and 218:
One can read the principle of “sy
Page 219 and 220:
Butthunderinconnectionwithabsolutel
Page 221 and 222:
(theEnglishtermis“windinstruments
Page 223:
(NB.BothhereandtherethereisaflightI
Page 226 and 227:
4 IN PRAISE OF THE CINE-CHRONICLE 1
Page 228 and 229:
Incidentally, the prototype for thi
Page 230 and 231:
Recollections of this phase (of the
Page 232 and 233:
Thesecondsex*is“drawnon” forirr
Page 234 and 235:
Ill. 6 Butinany: Ill. 7 Also[the“
Page 236 and 237:
The aestheticized game with levels
Page 238 and 239:
7.XI.47 [RGALI1923-2-1031] ÜBERGAN
Page 241 and 242:
Ill. M, N, and O - Photograms from
Page 243 and 244:
And more complex: metaphorical stru
Page 245 and 246:
The year 1050. Lenses in antiquity.
Page 247 and 248:
Ill. P, Q, and R - Photograms from
Page 249 and 250:
Old and New didn’t turn out to be
Page 251 and 252:
Traceherethegeneralgenealogyofthepr
Page 254:
Part Two Essays
Page 257 and 258:
Various (in terms of time) phases o
Page 259 and 260:
From Expressive Movement to “Cine
Page 261 and 262:
Ill. 2 - Honoré Daumier, Robert Ma
Page 263 and 264:
disjunction as producing a “motor
Page 265 and 266:
For Eisenstein, Futurism is little
Page 268 and 269:
2. “The Heritage We Renounce”:
Page 270 and 271:
goal was to encourage research and
Page 272 and 273:
elations of intersection, belonging
Page 274 and 275:
The case of Terry Ramsaye’s A Mil
Page 276 and 277:
Kurt-WilhelmMarek(whosignedhistexts
Page 278 and 279:
painters to raise a monument to the
Page 280 and 281:
The “Cradle” of Cinema Oneofthe
Page 282 and 283:
whole series of films dealing with
Page 284 and 285:
course oneconsidersthehypermemoryto
Page 286 and 287:
of a socio-political type often dom
Page 288 and 289:
From then on Eisenstein connects go
Page 290 and 291:
3. The Notes for a General History
Page 292 and 293:
Ill. 1 - The first drawing: the bar
Page 294 and 295:
An image of a barricade appears in
Page 296 and 297:
the essential interpretation of phe
Page 298 and 299:
note that this opposition between t
Page 300 and 301:
4. Act Now!, or For an Untimely Eis
Page 302 and 303:
Hugo Munsterberg was pioneering in
Page 304 and 305:
with a language of ideas/sensations
Page 306 and 307:
authorship of the film as it made p
Page 308:
career. In the 1920s, of course, th
Page 311 and 312:
Ill. 1 - Alexander Rodchenko, poste
Page 313 and 314:
given in the form of single frames
Page 315 and 316:
which, according to him, gave the e
Page 317 and 318:
moment” which requires emphasis.
Page 319 and 320:
which is neither fixed nor obvious.
Page 321 and 322:
they are paranoid and instrumentali
Page 324 and 325:
6. Eisenstein’s Absolutely Wonder
Page 326 and 327:
which point towardagenealogical mod
Page 328 and 329:
such chronologies lending themselve
Page 330 and 331:
“here today, gone tomorrow,” or
Page 332 and 333:
preted as a “displacement” in w
Page 334 and 335:
7. Dynamic Typicality Abe Geil Eise
Page 336 and 337:
present a “defined character pass
Page 338 and 339:
caste system gave each person a phy
Page 340 and 341:
years leading up to the adoption of
Page 342 and 343:
Galton staked the superiority of hi
Page 344 and 345:
ens to reverse the direction of cau
Page 346:
principle of typicality offers a wa
Page 349 and 350:
e seenfrom hisveryearly writingsBaz
Page 351 and 352:
origin and descent. Reflecting on f
Page 353 and 354:
metaphors lifted from biology. “T
Page 355 and 356:
sublation. In fact one can even arg
Page 357 and 358:
of art and the “realistic tendenc
Page 359 and 360:
of an event (Memling, Botticelli’
Page 361 and 362:
ary concepts as point of convergenc
Page 363 and 364:
nant sound (dominante) is the princ
Page 365 and 366:
internal affect takes place. Eisens
Page 367 and 368:
English under the title “A Dialec
Page 369 and 370:
Moreover, it is precisely the heter
Page 371 and 372:
diction penetrates into the affect
Page 374 and 375:
10. Distant Echoes 1 Arun Khopkar
Page 376 and 377:
children, the craven-hearted and pr
Page 378 and 379:
Nonanthropocentric View of the Worl
Page 380 and 381:
workman’s tools, etc. One of the
Page 382 and 383:
Everyone had drunk far too much tha
Page 384:
Whether it is a sexual ecstasy, an
Page 387 and 388:
mark next toit): “A friendly coop
Page 389 and 390:
than a static one (the organism as
Page 391 and 392:
It would be legitimate to recognize
Page 394 and 395:
12. Eisenstein’s Mummy Complex: T
Page 396 and 397:
ernity. One of the pillars of this
Page 398 and 399:
tween them. The first category is d
Page 400 and 401:
A pivot point in this conception, t
Page 402 and 403:
“cine-chronicle” is thinking of
Page 404 and 405:
ality for humanity and its subjecti
Page 406 and 407:
13. Sergei Eisenstein and the Sovie
Page 408 and 409:
was to focus on the Soviet cinema o
Page 410 and 411:
neers such as Eisenstein) shaped mu
Page 412 and 413:
the Venice Film Festival, sponsored
Page 414 and 415:
claim to the universality of aesthe
Page 416 and 417:
Bibliography Works by Eisenstein in
Page 418 and 419:
Mettre en scène. Translated by Jac
Page 420 and 421:
Ivanov, Viacheslav. “Estetika Eiz
Page 422 and 423:
Roshal’, Lev. Gore umu, ili Eizen
Page 424 and 425:
Iampolski,Mikhail.“TheoryasQuotat
Page 426 and 427:
Taylor, Richard, and Ian Christie,
Page 428:
Works on Eisenstein’s Drawings Ai
Page 431 and 432:
6. Kinovedcheskie zapiski 36/37 (19
Page 433 and 434:
5. In his essay published in this v
Page 435 and 436:
28. The notion of “cultural serie
Page 437 and 438:
Montage forthcoming from the Univer
Page 439 and 440:
expressive movement of plants] […
Page 441 and 442:
98. Montazh, p. 400. 99. Towards a
Page 443 and 444:
cinematic dispositif as an open, fl
Page 445 and 446:
indifferente (Venezia: Marsilio, 19
Page 447 and 448:
244. Ibid., p. 12. 245. On the pres
Page 449 and 450:
267. Jean Epstein, “L’Intellige
Page 451 and 452:
315. Onthewayinwhichdifferentdefini
Page 453 and 454:
Spanish bandit El Maragato, in 1806
Page 455 and 456:
2. Verweile doch, du bist so schön
Page 457 and 458:
once set off down such a promising
Page 459 and 460:
[“Dvizhenie tsveta”] for the un
Page 461 and 462:
“Pushkin and Gogol” (1946-48) h
Page 463 and 464:
piecesofmusicandcreatedabout300pain
Page 465 and 466:
along with a plan of the city. The
Page 467 and 468:
1948) (cf. S.M. Eisenstein, Glass H
Page 469 and 470:
108. Reference to one of the most p
Page 471 and 472:
134. Eisenstein devoted several ent
Page 473 and 474:
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 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 532 and 533: Grosz, George 57, 165, 335 Grusin,
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
show all

SERGEI M EISENSTEIN

Create successful ePaper yourself

Delete template?

Save as template?