Sergei M. Eisenstein : notes for a general history of cinema
Author(s)
Bibliographic Information
Sergei M. Eisenstein : notes for a general history of cinema
(Film theory in media history)
Amsterdam University Press, [2016]
- : pbk
Available at 3 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references (p. 415-427) and index
Description and Table of Contents
Description
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.
Table of Contents
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. Francois 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
by "Nielsen BookData"