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I.B. Tauris, 2010
- v. 1 : pbk
- v. 3 : pbk
Available at / 3 libraries
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Faculty of Letters Library, University of Tokyo現文
v. 1 : pbk778:Eisen:Tay14818650717,
v. 3 : pbk778:Eisen:Tay34818650733 -
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Note
First published in 1988-1996 by the British Film Institute
Volume 3 translated by William Powell
Contents: v. 1. Writings, 1922-34. -- v. 3. Writings, 1934-47
Includes bibliographical references and indexes
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Description and Table of Contents
- Volume
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v. 1 : pbk ISBN 9781848853553
Description
I.B.Tauris is delighted to announce the reissue in paperback in three volumes of the definitive, most comprehensive edition, in the finest translations and fully annotated, of the writings of this great filmmaker, theorist and teacher of film - and one of the most original aesthetic thinkers of the twentieth century. Now in paperback for the first time, Volume 1 documents from the definitive Russian texts the complex course of Sergei Eisenstein's writings during the revolutionary years in the Soviet Union. It presents Eisenstein the innovative aesthetic thinker, socialist artist and humourist, passionately engaged in the debates over the art forms of the future. Importantly, this was also the period of Eisenstein's great silent masterpieces, 'The Strike', 'The Battleship Potemkin', 'October' and 'The General Line', and of his controversial sojourns in Hollywood and Mexico.
- Volume
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v. 3 : pbk ISBN 9781848853577
Description
I.B.Tauris is delighted to announce the reissue in paperback in three volumes of the definitive, most comprehensive edition, in the finest translations and fully annotated, of the writings of this great filmmaker, theorist and teacher of film - and one of the most original aesthetic thinkers of the twentieth century. Volume 3 follows on from the 1922-34 writings of Volume 1 and parallels Volume 2's essays on the theory of montage. In the period covered by this volume, Eisenstein's film-making ran into the difficulties generated by the Soviet authorities' increasingly restrictive definition of Socialist Realism, by the show trials and the purges, the Second World War, and the post-war proclamation of rigid cultural orthodoxy by Stalin's henchman, Zhdanov. Here we experience Eisenstein's reaction to this hostile environment, as filmmaker, theorist and teacher, from his public obeisance over 'Bezhin Meadow' to his private defiance with 'Ivan the Terrible'.
by "Nielsen BookData"