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In Eisenstein Rediscovered Ian Christie and Richard Taylor present the first true East-West symposium on Eisenstein with an unparalleled diversity of views and methodologies. Two newly discovered texts by Eisenstein are here translated fro the first time, and all the contributors make extensive use of material only recently available - variant scripts, drawings, diaries and other writings - to probe behind the familiar facade. The `new' Eisenstein that emerges is in all respects a more engaging and contemporary figure than is traditionally perceived, his wit, eroticism and exlectic passions defining a distinctively modern sensibility whose rediscovey is long overdue.
Mouse Eisenstein in a Mexican museum ‘Day of the Dead’ in Que Viva Mexico! Workers in The Strike The quarterdeck of the Potemkin The standard-bearer in October Collage by Eisenstein Ballet mécanique Impatience Ivan the Terrible 143 153 157 164 169 178 182 185 187 190 195 199 203 209 Notes on contributors François Albera is Professor of the History and Aesthetics of Cinema at the University of Lausanne. He is the author of Notes sur l’esthétique d’Eisenstein, Jean-Luc Godard and Eisenstein et
natural for a film that is an apologia for the Revolution. A shot of a peasant boy rejoicing on the Tsar’s throne, which marks the climax of the screen version of this sequence, comes in the editing script version immediately after the burst of feathers, suggesting, in a somewhat Méliés-like fashion, that the boy emerges from the explosion. In the screen version the idea of revolution as explosion is reinforced at the discursive level by the famous jump-cut ‘boy by the throne/boy on the throne’.
Klages’s work, to which I shall return later. Eisenstein’s writings on mise-en-scène indicate that it emerges as a synthesis of two tendencies: the graphic and the expressive. These are not mutually exclusive and in fact their fusion and interpenetration is the hallmark of great mise-en-scène. Their separation here is only for the purpose of analysis. I am taking the graphic as relating to geometry, number and proportion; and the expressive as relating to the organic. It is through their mutual
him in his own. For this purpose, I have chosen to give first a brief account of the concept of mise-en-scène according to Kuleshov, Stanislavsky and Meyerhold. These were not only great contemporaries of Eisenstein, but influences and indeed exemplars of recurrent tendencies in the history of art. KULESHOV: THE DEMANDS OF THE RECTANGLE AND THE RITUAL OF LABOUR There is a beautiful description of the early years of Soviet cinema by Eisenstein: In the early 1920s we all came to Soviet cinema as
of the ‘Slav scientific tradition’. On the other, if we take precise note of the wide range of fields in which Eisenstein theorised, it will become clear which EISENSTEIN AS THEORETICIAN 169 Figure 41 ‘Disney constantly gives us prescriptions for folkloric, mythological, prelogical thought’, Eisenstein wrote in 1940–1, after meeting Walt Disney and his most famous creation in Hollywood in 1930. 170 EDOARDO G.GROSSI aspects of his theorisation remain to be further excavated and thus how