SERGEI M EISENSTEIN

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Nil'sen, Vladimir 481 Nirnsee, Ernst Richard 453 Nizhny, Vladimir 521 Nonguet, Lucien 274, 476 Nordau, Max 110, 286, 451, 490, 498 Nordegraaf, Julia 434 Novalis 356 Odello, Laura 443 Oedipus 120, 261 Ol’denburgskii, Alexander Petrovich 444, 454 Ølholm, Marianne 510 Olivero, Massimo 7, 8 Orlovskii, Aleksandr Osipovich 191, 477 Orozco, Juan Manuel 140, 461 Ørum, Tania 510 Osiris 64, 113 Ossang, Frédéric-Jacques 448 Ostuzhev, Alexander 367, 389 Otsup, Pëtr 148, 465 Otto, Regine 443 Ovid 345 Paech, Joachim 433 Païni, Dominique 8 Pallotto, Manuela 7 Panigel, Armand 492, 493 Panofsky, Erwin 412, 494 Papazian, Elizabeth (Liz) 298, 496 Parikka, Jussi 434 Pasolini, Pier Paolo 319 Paul I (of Russia) 211, 480 Pavlenko, Pëtr 480 Paxton, Joseph 465 Peirce, Charles Sanders 402 Peisistratos 281 Pentheus 64 Perkins, Victor F. 499 Perrière, Hortense de la (Mme Howland) 171, 472 Pesenti Campagnoni, Donata 441 Pétain, Philippe 409 Peter the Great (Peter I of Russia) 57, 77, 155, 179, 242, 468 Petrarch (Petrarca, Francesco) 186, 476 Petrov, Vladimir 486 Pharmakos 64 Philipon, Charles 197, 337 Phoenix, J. 199 Phoenix 113 Picasso, Pablo 130, 186, 202, 270, 309, 490 Pigres of Halicarnassus 467 Pilpay 378, 517 Pimenov, Iurii 470 Pinotti, Andrea 8, 431, 443 Pipinashvili, Konstantin 145 Piranesi, Giovanni Battista 69 Piretto, Gian Piero 8 Pisu, Stefano 522 Pitassio, Francesco 8, 435 Plantinga, Carl 300, 502 Plateau, Joseph 273 Plato 496 Platov, Matvei 154, 467 Plekhanov, Georgii 490 Pliny the Elder 76, 444 Plutarch 467 Polan, Dana 491 Porter, Edwin 492 Posada, José Guadalupe 80, 154, 179, 467 Poujaud, Paul 171 Pound, Erza 352 Priestley, Joseph 244 Prinzhorn, Hans 235 Prokofiev, Sergei 71, 219, 430 Prometheus 46, 120 Protazanov, Yakov 249, 500 Proteus 67 Ptushko, Aleksandr 151 Pudovkin, Vsevolod 55, 249, 250, 334, 410, 466, 485, 486, 495, 500, 517, Pushkin, Aleksandr 49, 56, 58, 71, 113, 129, 131, 142, 146, 174, 180, 249, 359, 459, 472, 475, 481, 483, 512 Quaresima, Leonardo 8, 497 index of names 535
Queen Elizabeth (of Great Britain) 71, 199 Queen Victoria (of Great Britain) 123, 149, 242, 469 Quenedy, Edmé 243 Quercy, Pierre 497 Rabb, Jane M. 456 Rabelais, François 15 Rachlin, Seth 510 Racine, Jean 237 Raengo, Alessandra 497 Raffet, Auguste 176, 484 Ragghianti, Carlo 272, 491 Rajewsky, Irina O. 433 Ramos Monteiro, Lucia 433 Ramsaye, Terry 20, 35, 273, 432, 473, 491, 494 Rancière, Jacques 302, 303, 328, 331, 503, 507, 508 Rank, Otto 63, 442 Ranke, Leopold 85 Raphaël, Max 490 Rebay, Hilla 512 Rebecchi, Marie 8, 431, 435 Reininger, Lotte 227 Reis, Marion J. 501 Rejlander, Oscar Gustave 159, 161, 188, 357, 483 Rembrandt (Rembrandt Harmenszoon van Rijn) 116, 126, 243, 348, 457 Renoir, Jean 184, 225, 432, 482 Renoir, Jean 430, 476 Reynaud, Paul 493 Ribbentrop, Joachim von 464 Richer, Paul 461 Richter, Hans 350, 351, 352, 489, 510 Riegl, Alois 38, 66, 74, 98, 281, 283, 444, 449, 496, 498 Rieser, Martin 502 Rilke, Rainer Maria 73, 74, 204, 444 Rimbaud, Arthur 49, 475 Rimsky-Korsakov, Nikolai 219 Ripa, Cesare 282 Riskin, Robert 245 Rivelaygue, Jacques 370, 513 Rivière, Georges 185, 274, 476 Roberts, Geoffrey 505 Roberts Rinehart, Mary 222 Robertson (Robert, Étienne-Gaspard) 275 Robespierre, Maximilien de 58, 178, 496 Robinson, David 274 Robinson, Henry Peach 161 Rocha, Glauber 319 Rodchenko, Aleksander 57, 168, 310, 311, 496 Rodin, Auguste 67, 73, 74, 89, 200, 204, 257, 472, 478, 487 Rodowick,DavidN.301,328,503,506, 522 Roget, Peter Mark 273 Rohmer, Éric 347 Roosevelt, FranklinDelano57,77,242, 454 Roosevelt, Theodore "Teddy", Jr. 197 Ropars, Marie-Claire 288 Ropars-Wuilleumier, Marie-Claire 499 Rorschach, Hermann 204 Rosen, Philip 7, 393-404, 446, 519, 520 Rossellini, Roberto 284, 483 Rossini, Gioachino 475 Rotha, Paul 410 Roubaud, Franz 474 Rouch, Jean 279 Rousseau, Jean-Jacques 180 Rublev, Andrei 53 Ryabchikova, Natalie 3, 7, 9, 298, 405- 414, 431, 507, 521 Saba, Cosetta G. 434 Sacher-Masoch, Leopold von 470 Sachs, Hans 471 Sadoul, Georges 15, 21, 60, 80, 174, 190, 273-277, 326, 409, 412, 430, 432, 442, 473, 476, 492-494, 506, 521 Salazkina, Masha 7, 329, 405-414, 431, 434, 507, 521, 522 536 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
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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
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ofnatural phenomena andofthemytholo
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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 534 and 535: Lawrence, D.H. (David Herbert) 435
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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