This book's title is less of a hyperbole than it may seem. As a theorist, Sergei Eisenstein sought a universal law that explains art's emotional impact across cultures, media and ages. Fluent in four languages, he spent years tracing this law in wildly different areas of knowledge. As these essays show, the quest was not aimless. His writings, like his films, relied on the cognitive power of juxtaposition, collating ideas to collide themand make some astounding discoveries. All too few of his many projects saw the light of day. This book alerts us to the power of the abandoned, the aborted, the unmadethings worth thinking through again. Eisenstein's once-compact universe, like the one we inhabit, is expanding.

Vorwort
An in-depth, innovative study of the Soviet era film director, Sergei Eisenstein (1898-1948), which reassess his legacy in the twenty-first century using new research.

Autorentext
Ian Christie is Fellow of the British Academy and Anniversary Professor of Film and Media History at Birkbeck, University of London, UK. He co-edited the collection Eisenstein Rediscovered (1993) as well as organising a 1988 Oxford conference that preceded it. He has long been active in presenting Eisenstein's silent films with live accompaniment, and in promoting awareness of the drawings, most recently in Eisenstein on Paper: The Graphic Works (2017). Among many exhibitions, he co-curated Eisenstein: His Life and Work (Oxford, London and Manchester, 1988), and Unexpected Eisenstein (London, 2016). Julia Vassilieva is Senior Lecturer in Film and Screen Studies at Monash University, Melbourne, Australia. Her books include Narrative Psychology (2016), the co-edited Beyond the Essay Film (2020) and After Taste: Cultural Value and the Moving Image (2013), and she has published widely in film and psychology journals. She organised the symposium 'Eisenstein for the Twenty First Century' in June 2018 in Prato, Italy, and co-convened the Eisenstein International Network's first conference in October 2019 at INHA, Paris.

Klappentext
Over the decades since he was first hailed by critics and filmmakers around the world, Sergei Eisenstein has assumed many identities. Originally cast as a prophet of revolution and the maestro of montage, and later seen as both a victim of and apologist for Stalin's tyranny, the scale and impact of Eisenstein's legacy has continued to grow. If early research on Eisenstein focused on his directorial work - from the legendary Battleship Potemkin and October to the still-controversial Ivan the Terrible - with time scholars have discovered many other aspects of his multifarious output. In recent years, multimedia exhibitions, access to his vast archive of drawings, and publication of his previously censored theoretical writings have cast Eisenstein in a new light. Deeply engaged with some of the leading thinkers and artists of his own time, Eisenstein remains a focus for many of their successors, contested as well as revered. Over half a century since his death in 1948, an ambitious treatise that he hoped would be his major legacy, Method, has finally been published. Eisenstein's lifelong search for an underlying unity that would link archaic art with film's modernity, individuals with their historic communities, and humans as a species with the universe, may have more appeal than ever today. And among his many thwarted film projects, those set in Mexico and what were once the Soviet Central Asian republics reveal complex and still-intriguing realms of speculation. In this ground-breaking collection, sixteen international scholars explore Eisenstein's prescient engagement with aesthetics, anthropology and psychology, his roots in diverse philosophical traditions, and his gender politics. What emerges has surprising relevance to contemporary media archaeology, intermediality, cognitive science, eco-criticism and queer studies, as well as confirming Eisenstein's prestige within present-day film and audiovisual media.

Inhalt

TABLE OF CONTENTS

INTRODUCTION. Ian Christie and Julia Vassilieva
Eisenstein Unbound

ACKNOWLEDGMENTS

Part 1. CREATIVITY, NATURE, POLITICS

CHAPTER 1. Dustin Condren
Odd and Even: Eisenstein and Unrealised Work

CHAPTER 2. Joan Neuberger
Eisenstein's Collectives: The Politics of Nature

CHAPTER 3. Robert Bird
The Politics of Nonindifference in Eisenstein's Dialectics of Nature

Part 2. GRUNDPROBLEM, REGRESS, SENSUALITY

CHAPTER 4. Ilaria Aletto
Regress-Progress in Proust, Surrealism and Joyce

CHAPTER 5. Ian Christie
The Old IT: Eisenstein and D. H. Lawrence

CHAPTER 6. Evgenii Bershtein
Sokurov contra Eisenstein: The Balance of Gender

Part 3. PATHOS, IMMERSION, AFFECT

CHAPTER 7. Antonio Somaini
Formula pafosa, Pathosformel: Eisenstein and Warburg

CHAPTER 8. Julia Vassilieva
Hypnosis, Psychotechnics and Magic of Art

CHAPTER 9. Ada Ackerman
Eisenstein's Scream(s)

Part 4. HISTORY, REPRESENTATION, MONTAGE

CHAPTER 10. Håkan Lövgren
October: On the Cinematic Allegorizing of History
CHAPTER 11. Felix Lenz
Attraction and Subversion - 'Montage 1938'

CHAPTER 12. Massimo Olivero
The Two-Headed Ecstasy: The Philosophical Roots of Late Eisenstein

CHAPTER 13. Nikita Lary
Ivan the Terrible in the Context of Shakespearean Tragedy

Part 5. SPACE, PLACE, LEGACY

CHAPTER 14. Nariman Skakov
From Moscow to Fergana, or From the Avant-garde to the National Form

CHAPTER 15. Adrian Danks
March 1949, Melbourne: Eisenstein in Australia

CHAPTER 16. Oksana Bulgakowa
How to Curate Eisenstein

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