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Eisenstein, Sergei Mikhailovich (1898–1948) Reference library
Yuri Tsivian
Encyclopedia of Aesthetics (2 ed.)
...he embarked on his first feature, Eisenstein speculated on the nature of artists’ biographies, subdividing them into “evolutionary” and “revolutionary” types: the former was based on the unfolding and expanding of the same set of artistic principles (Eisenstein’s example: Lev Kuleshov), whereas the latter had a trajectory of permanent self-denial (Meyerhold). While Eisenstein the filmmaker clearly adhered to the second type (in his entire work, no two films are alike), as a theorist he appears more consistent. Beneath a stream of topics and references one...
Film Reference library
Noël Carroll, Paul Messaris, Carl Plantinga, Edward Dimendberg, David Bordwell, and Stephen Prince
Encyclopedia of Aesthetics (2 ed.)
...S. M. Towards a Theory of Montage . Edited by Richard Taylor and Michael Glenny , translated by Michael Glenny . Bloomington: Indiana University Press, 1992. Gaut, Berys . A Philosophy of Cinematic Art . Cambridge, U.K.: Cambridge University Press, 2010. Kuleshov, Lev . Kuleshov on Film . Edited and translated by Ronald Levaco . Berkeley: University of California Press, 1974. Langdale, Allan , ed. Hugo Münsterberg on Film: The Photoplay: A Psychological Study and Other Writings . New York: Routledge, 2002. Lowry, Edward . The Filmology Movement...
Experimentalism Reference library
Benjamin Piekut, George E. Lewis, and Jeffrey Skoller
Encyclopedia of Aesthetics (2 ed.)
...a new visual language in cinema that was no longer based upon the adaptation of theatrical, literary, or journalistic conventions was strongly articulated by Soviet filmmakers as part of a revolutionary politics of form. Filmmakers from Vertov and Eisenstein to Dovzhenko and Kuleshov insisted that inventing a new cinematic language was necessary to create a revolutionary cinema that could adequately represent the ideas, events, and conditions of the new society. They developed and experimented with complex theories of montage to create an active and...
Eisenstein, Sergei Mikhailovich (1898) Reference library
Encyclopedia of Aesthetics
...he embarked on his first feature, Eisenstein speculated on the nature of artists’ biographies, subdividing them into “evolutionary” and “revolutionary” types: the former was based on the unfolding and expanding of the same set of artistic principles (Eisenstein's example: Lev Kuleshov ), whereas the latter had a trajectory of permanent self-denial (Meyerhold). While Eisenstein the filmmaker clearly adhered to the second type (in his entire work, no two films are alike), as a theorist he appears more consistent. Beneath the stream of changing subjects and...
Film Reference library
Encyclopedia of Aesthetics
...S. M. Selected Writings; 1922–34 . Edited and translated by Richard Taylor . Bloomington, Ind., 1988. Eisenstein, S. M. Towards a Theory of Montage . Edited by Richard Taylor and Michael Glenny , translated by Michael Glenny , Bloomington, Ind., 1992. Kuleshov, Lev . Kuleshov on Film . Edited and translated by Ronald Levaco . Berkeley, 1974. Lowry, Edward . The Filmology Movement and Film Study in France . Ann Arbor, 1985. Metz, Christian . Film Language: A Semiotics of the Cinema (1968). Translated by Michael Taylor . New York and...
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