Eisenstein, Cinema, and History

University of Illinois Press, 1993 - 262 páginas
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

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Eisenstein, cinema, and history

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Rarely does a critical study of film rest on such a solid foundation as this satisfying, three-dimensional overview of the career of the former Soviet Union's preeminent filmmaker. Goodwin (English ... Leer reseña completa


Revolutionary Beginnings From Theater to Cinema
Strike The Beginnings of Revolution
Battleship Potemkin Pathos and Politics
October History and Genesis
Old and New History and Utopia
Dislocation Projects 192932
Disjunction Projects 193237
Alexander Nevsky The Great Man in History
Ivan the Terrible An Inversion of History
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Página 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.
Página 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.
Página 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.

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