SERGEI M EISENSTEIN

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Ill. 8 and 9 – Sergei M. Eisenstein, two drawings on the theme “Volume and Space” (October 1945) eisenstein’s media archaeology 97
The passage from the act of touching a round volume with a hand to the act of looking at a space represented according to the norms of Renaissance perspective can be considered an implicit reference to Alois Riegl’s idea of a historical development from a tactile and then “haptic” relation to space, to a condition of pure “optical” vision. 308 This idea appears in two drawings on the theme “Volume and Space” dated October 1945 that are connected with the one we are analyzing. 309 In the first drawing Eisenstein shows a hand wrapped around a round volume, but at the same time contained in an enclosed round space which is clearlyareference tothemother’s womb.The seconddrawing presents thehand in three positions: in the center, the hand is touching a surface at a right angle; to the right, it touches the interior wall of the womb, while to the left it wraps again around a round volume. Above, Eisenstein writes “gesturally gesehen,” “seenthroughgestures,”which pointstoaformoftactileseeingthattakes place first as the touching of a “countervolume” or “negative volume” from the inside, andthenasthetouchingofa“positivevolume”fromtheoutside If we return to the larger drawing, we may notice how the two genealogical lines, the “concave line” and the “convex line,” seem to end with the same “art of space” (Raum Kunst), which is reached either through the reference to the colored light projected through the stained glass windows inside the space of the cathedral, or through stereoscopic cinema as a way of producing colored forms floating in space. The fact that the stage of the “Raum Kunst” can be reached either through the left or through the right side of the page, seems to imply that the drawing could be folded, giving it the shape of a cylinder: another example of that need to go beyond the linearity of writing and the bidimensionality of the pagethatwehavefoundinthenotesonthe“sphericalbook.” To the right of the sacrificial body of the god begins yet another genealogical sequence, which could be considered another “convex line.” It begins with a hand leaving its imprint in the ground, then the same hand leaving deeper imprintsbypressingitsfingers(areferencetotheoriginsofwritings?)andthen,in another drawing, the same hand again grasping a round object (“round”): a wrapping gesture compared by Eisenstein with the way in which a tridimesional sculpture can be observed from different viewpoints (“polipoint statue”), as if it were surrounded by them. Different ways of producing a sculpture are then listed: incision (“eingeritzt”), low relief (“en relief”), a sculpture conceived to be seen frontally (“frontal statue”), and then again the same “polipoint statue” that leads to the reference to Benvenuto Cellini’s statements about the paragone between painting and sculpture: “Malerei [painting] d’après Cellini as one of 40 possible projections of sculpture.” From here we move to a diagram that shows the projection of a “polipoint statue” onto a bidimensional plane, and to the idea of film as a development of the multiple views offered by sculpture: “film as multi project. plates,” next to which Eisenstein shows how the different views of the 98 antonio somaini
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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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Page 49 and 50: “The Greeks, Diderot, Wagner, Scr
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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
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Page 81 and 82: establishing the unmovable law of d
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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: Ill. 7 - Sergei M. Eisenstein, a dr
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
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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
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16. Unit 881, fund 1923, opus 2, Ru
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thousands of European and American
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“teleological” default for whic
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46. Georges Friedmann, “Sur une h
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EarlySovietCulture(DeKalb:NorthernI
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themselves” without the interfere
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sculptural group on the opera build
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characters’; in other words of an
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3. Lev Vygotsky, The Psychology of
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[New Brunswick: Rutgers University
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Turn-of-the-Century.” in Rethinki
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37. Galton, Inquiries into Human Fa
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26. Cf. my “A Cinema of Memory in
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31. “À partir de la félicité d
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7. Many of the traditional theatric
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deities, many of which are phenomen
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12. Philip Rosen, Eisenstein’s Mu
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17. Cristophe Dupin, “The Postwar
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Index of names NB The page numbers
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Brasillach, Robert 21, 272, 274, 32
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Didi-Huberman, Georges 7, 309-321,
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Grosz, George 57, 165, 335 Grusin,
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Lawrence, D.H. (David Herbert) 435
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Nil'sen, Vladimir 481 Nirnsee, Erns
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Salis, Rodolphe 274 Salome 69 Salt,
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Vatsyayan, Kapila 516 Veiller, Baya
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Contributors The Editors NaumKleima
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and Television, Comparative Critica
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uted seminal papers on film aesthet
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SERGEI M EISENSTEIN

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