Eisenstein, Cinema, and HistoryUniversity of Illinois Press, 1993 - 262 pàgines Among early directors, Sergei Eisentein stands alone as the maker of a fully historical cinema. James Goodwin treats issues of revolutionary history and historical representation as central to an understanding of Eisentein's work, which explores two movements within Soviet history and consciousness: the Bolshevik Revolution and the Stalinist state. Goodwin articulates intersections between Eisentein's ideas and aspects of the thought of Walter Benjamin, Georg Lukács, Ernst Bloch, and Bertolt Brecht. He also shows how the formal properties and filmic techniques of each work reveal perspectives on history . Individual chapters focus on Strike, Battleship Potemkin, October, Old and New, projects of the 1930s, Alexander Nevsky, and Ivan the Terrible. |
Continguts
Revolutionary Beginnings From Theater to Cinema | 16 |
Strike The Beginnings of Revolution | 37 |
Battleship Potemkin Pathos and Politics | 57 |
October History and Genesis | 79 |
Old and New History and Utopia | 98 |
Dislocation Projects 192932 | 120 |
Disjunction Projects 193237 | 139 |
Alexander Nevsky The Great Man in History | 156 |
Ivan the Terrible An Inversion of History | 179 |
Conclusion | 210 |
Notes | 221 |
Filmography | 237 |
| 243 | |
| 257 | |
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Frases i termes més freqüents
action actor Alexander Nevsky Alexandrov Anastasia artistic audience Basmanov Bezhin Meadow Bolshevik bourgeois boyars Brecht Cahiers du Cinéma camera character close-up compositions conflict context criticism critique cultural death depicted dialectical direction director dramatic dynamic Eisen Euphrosyne film's filmmaking Formalist graphic Grigori Alexandrov human ideology imagery intellectual cinema Ivan the Terrible Ivan's Jay Leyda Kuleshov Kurbsky Lenin Malyuta Marfa Marx Marx's Marxist mass material materialist ment method Meyerhold modern montage Moscow movement narrative October oprichniki oprichnina Party pathos peasant period political Potemkin present production proletarian Proletkult Que Viva Mexico reality reflex revolution revolutionary Russian scenario scene screen script sequence Sergei Eisenstein shot social socialist realism sound Soviet Cinema Soviet film stage Stalin stein Stepok Strike structure theater theme theory tion trans tsar tsar's tsarist University Press utopian Vakulinchuk Vasili Vertov visual Viva Mexico Vladimir workers York
Passatges populars
Pàgina 6 - If in all ideology men and their circumstances appear upside-down as in a camera obscura, this phenomenon arises just as much from their historical lifeprocess as the inversion of objects on the retina does from their physical life-process.
Pàgina 5 - ... includes in its comprehension and affirmative recognition of the existing state of things, at the same time also, the recognition of the negation of that state, of its inevitable breaking up; because it regards every historically developed social form as in fluid movement, and therefore takes into account its transient nature not less than its momentary existence; because it lets nothing impose upon it, and is in its essence critical and revolutionary.
Pàgina 6 - In direct contrast to German philosophy which descends from heaven to earth, here we ascend from earth to heaven. That is to say, we do not set out from what men say, imagine, conceive, nor from men as narrated, thought of, imagined, conceived, in order to arrive at men in the flesh. We set out from real, active men, and on the basis of their real life-process we demonstrate the development of the ideological reflexes and echoes of this life-process.
Referències a aquest llibre
Methods and Nations: Cultural Governance and the Indigenous Subject Michael J. Shapiro Previsualització no disponible - 2004 |