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0. Eisenstein’s Philosophy, Concept, Ideology
- Eisenstein(secular) and Vertov(idealist) : Both employ the cinema to escape ordinary human perception and consciousness, but they do so with the eminently secular intention of helping human beings to gain greater knowledge about, and thereby mastery over, reality.
- Malcolm Turvey, ‘Introduction’, in Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson, ed. by Annette Michelson, Richard Allen, and Malcolm Turvey, Film Culture in Transition (Amsterdam: Amsterdam University Press, 2003), p. 30.
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1. Montage
- (coming)
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2. Materiality
1. The Frame
- In many ways, it was a realisation of the ‘dynamic square’ that Sergei Eisenstein had proposed during debates in the 1930s where he was concerned with a ‘passive horizontalism’ that was emerging from industry developments in widescreen formats.
- Eisenstein, Sergei, ‘The Dynamic Square’, in Film Essays and a Lecture, ed. by Jay Leyda (Princeton, N.J: Princeton University Press, 1982), pp. 48–66.
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3. Mnemonics in Space
18TH CENTURY — PICTURESQUE SPACE -> GARDEN
- Auguste Choisy -> Le Corbusier -> Eisenstein
- In the 18 century, research begun related to movement
- Serigei Eisenstein used Auguste Choisy’s picturesque view
- This philosophy of space embodied a form of fluid, emotive geography.
- Started from Choisy, the relationship with Le Corbusier
- Sergei Eisentein and Architecture (Gothic Churches)
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