Buch, Englisch, 545 Seiten, Format (B × H): 156 mm x 234 mm
Reihe: Film Theory in Media History
Notes for a General History of Cinema
Buch, Englisch, 545 Seiten, Format (B × H): 156 mm x 234 mm
Reihe: Film Theory in Media History
ISBN: 978-90-8964-844-0
Verlag: Amsterdam University Press
One of the iconic figures of the twentieth-century cinema, Sergei Eisenstein is best known as the director of The Battleship Potemkin. His craft as director and film editor left a distinct mark on such key figures of the Western cinema as Nicolas Roeg, Francis Ford Coppola, Sam Peckinpah and Akiro Kurosawa.This comprehensive volume of Eisenstein’s writings is the first-ever English-language edition of his newly discovered notes for a general history of the cinema, a project he undertook in 1946-47 before his death in 1948. In his writings, Eisenstein presents the main coordinates of a history of the cinema without mentioning specific directors or films: what we find instead is a vast genealogy of all the media and of all the art forms that have preceded cinema’s birth and accompanied the first decades of its history, exploring the same expressive possibilities that cinema has explored and responding to the same, deeply rooted, “urges” cinema has responded to. Cinema appears here as the heir of a very long tradition that includes death masks, ritual processions, wax museums, diorama and panorama, and as a medium in constant transformation, that far from being locked in a stable form continues to redefine itself.
The texts by Eisenstein are accompanied by a series of critical essays written by some of the world’s most qualified Eisenstein scholars.
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Acknowledgements Editorial Criteria Naum Kleiman, Foreword Antonio Somaini, Cinema as "Dynamic Mummification," History as Montage: Eisenstein's Media Archaeology Part 1 Sergei M. Eisenstein: Notes for a General History of Cinema 1. The Heir 2. Dynamic Mummification. Notes for a general history of cinema 3. Revelation in Storm and Thunder 4. In Praise of the Cine-chronicle 5. The Place of Cinema in the General System of the History of the Arts 6. Pioneers and Innovators Part 2: Essays 1. Ada Ackerman, What Renders Daumier's Art so Cinematic for Eisenstein? 2. François Albera, "The Heritage We Renounce?" Eisenstein in Historio-graphy 3. Luka Arsenjuk, The "Notes for a General History of Cinema" and the Dialectic of the Eisensteinian Image 4. Nico Baumbach, Act Now!, or For an Untimely Eisenstein 6. Jane Gaines, Eisenstein's Absolutely Wonderful, Totally Impossible Project 7. Abe Geil, Dynamic Typicality 8. Vinzenz Hediger, Archaeology vs. Paleontology: A Note on Eisenstein's "Notes for a General History of Cinema" 9. Mikhail Iampolski, Point - Pathos - Totality 10. Arun Khopkar, Distant Echoes 11. Pietro Montani, "Synthesis" of the Arts or "Friendy Cooperation" between the Arts? The "General History of Cinema" According to Eisenstein 12. Philip Rosen, Eisenstein's Mummy Complex: Temporality, Trauma, and a Distinction in Eisenstein's "Notes for a General History of Cinema" 13. Masha Salazkina, Natalie Ryabchikova, Sergei Eisenstein and the Soviet Models for the Sydt of Cinema: 1920s-1940s Bibliography Notes on Contributors Index of Names
