SERGEI M EISENSTEIN

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Vatsyayan, Kapila 516 Veiller, Bayard 222 Venetsianov, Alexey Gavrilovich 192 Veneziano, Domenico 243 Verlaine, Paul 141, 309, 462 Vermeer, Johannes 354 Verneuil, Henri 349 Vertov, Dziga (Kaufman, David) 58, 86, 250, 279, 280, 284, 301-303, 305, 306, 334, 356, 437, 447, 465, 483, 485, 486, 496, 498, 503, 519 Viazemskii, Pëtr 191, 477 Vichi, Laura 497 Vignaux, Valérie 521 Vil’iams, Pëtr 470 Villard, Oswald Garrison 194 Vincent, Carl 274 Virgil 378 Virta, Nikolai 237 Vishnevskii, Veniamin 408 Vitellio 176 Vitruvius 244 Vlasov, Marat 521 Vogman, Elena 8, 431, 438 Voss, Christiane 446 Vygotsky, Lev 32, 282, 311, 497, 504 Wagner, Richard 40, 45, 48, 110, 219, 269, 353, 387, 388, 440, 451, 464, 490, 498, 508 Wallon, Henri 413 Wang Wei 243 Wankmüller, Rike 443 Warburg,Aby15,24,61,68,69,77,80, 82, 92-94, 270, 309, 319, 365, 433, 435, 443, 446 Warhol, Andy 348 Washington, George 58, 172, 331, 332, 454, 472 Wasson, Haidee 510, 522 Watt, James 244 Watteau, Antoine 67, 116 Wechsler, Judith 508 Wedel, Michael 355 Wedgwood, Thomas 244 Weigel, Sigrid 443 Weissfeld, Ilya 435 Weizsäcker, Carl Friedrich von 443 Welles, Orson 490 Wesley, John 152 Whistler, James Abbott McNeill 160 White, Hayden 328, 329, 505-507 Whitman, Walt 250, 278, 459, 484 Wilde, Oscar 330, 498 Wilke, Jurgen 522 Willemen, Paul 300, 502 Williams, James 511 Williams, Alan 521 Willumsen, Jens-Ferdinand 287, 499 Wingler, Hans M. 448 Winkler, John K. 194, 477 Winterstein, Alfred 64, 442 Wirkus, Faustin E. 212 Witelo, Erazmus Ciolek 244, 481 Witt, Michael 511 Witte, Georg 8, 439 Wittgenstein, Ludwig 277, 495 Wolff, Tatiana 472 Wölfflin, Heinrich 38, 66, 437 Wollen, Peter 303, 402, 403, 503, 520 Wood, Christopher S. 433 Worringer, Wilhelm 236, 281 Wotan 49 Wright, Frank Lloyd 96, 483 Wunberg, Gotthart 449 Wundt, Wilhelm 32 Wyler, William 482, 490 Xerxes (of Persia) 467 Young, Thomas 151, 158, 325 Youngblood, Denise 508 Zaborovskaia, Praskov’ia (Aunt Pasha) 154, 467 Zakim, Eric 298 Zalambani, Maria 495 Zaldivia, Pedro de 54, 452 Zapp, Andrea 502 Zarkhi, Natan A. 508 Zenker, Wilhelm 158, 325, 468 Zeus 64 index of names 539
Zeuxis 127, 166, 243 Zglinicki, Friedrich von 274, 493 Zhdanov, Andrey 390 Zielinski, Siegfried 434 Zimmer, Heinrich 518 Zimmermann, Yvonne 510 Zola, Émile 182, 184, 482, 497 Zoshchenko, Mikhail 430 540 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
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cinemawizardoftelevision,whowillbef
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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 536 and 537: Nil'sen, Vladimir 481 Nirnsee, Erns
Page 538 and 539: Salis, Rodolphe 274 Salome 69 Salt,
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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