Mileto: Your original intention was to focus your research on the study of the rotary and revolutionary movement of bodies – in particular faces – in Eisenstein’s films. Can we say that this apparent paradox is overcome by the necessary processuality implied in the laboratory of forms? Here he no longer stands for the formless mass. Psychological effect thus takes place not simply by increasing the rate of cuts, but by introducing new elements within the sequence that violate the structure of “metrical demands” (Eisenstein 74). Courtesy Janus Films. Movement in this instance could refer to the physical motion of an object or the movement of the camera over an immobile object (Eisenstein 75). We find it in the tribal dances, liturgies, or labor practices visible in the Mexican footage, as well as in the ‘protoplasmic’ photos by Jean Painlevé – exhibited at Nomas Foundation since they are really fundamental to Eisenstein – or in the famous director’s drawing (also exhibited) of the human figure who sinks a limb into the uterine water (Mutterleibversenkung). amzn_assoc_placement =""; amzn_assoc_search_type = Such movements within the frame may be of objects in motion, or of the spectator's eye directed along the lines of some im mobile obj ect. Courtesy Janus Films. Eisenstein selbst sah die metrische Montage als Primitivform an, die mit einer groben Einwirkungsmotorik gekoppelt sei, nicht aber mit intellektuellen Prozessen der Rezeption. Barcelona: Museu d’Art Contemporani de Barcelona & ACTAR, 1996 (orig. Toor, F. ‘Editor’s Note on Penitents’, Mexican Folkways, 6, no. Rhythm, as the most originary and all-encompassing sense, can be conceived in a twofold manner: it is a persistent physiological memory that traverses all sense perceptions on a micro-organic scale (seeing, hearing, smelling, and touching).
Volumes are also indexed in the DOAJ. Rhythmic – includes cutting based on continuity, creating visual continuity from edit to edit.
Film University Babelsberg Konrad Wolf. The exhibition Sergei Eisenstein: The Anthropology of Rhythm (Nomas Foundation, Rome, 20 September 2017 – 19 January 2018) explores the intersecting artistic, anthropological, and political dimensions of the unfinished film projects of Sergei Eisenstein: Que viva Mexico!
Figure 1.16 Potemkin, 1925. According to the Marxist analysis, socialism is a stepping-stone to Communism in that it represents the transition from a capitalist state to a communist state. A volume published by NERO Rome accompanies the exhibition. %PDF-1.6 %���� And could we refer to this ability of language with the use of rhetoric figures like metaphor or ‘polyphonic structures’, as happens in streams of consciousness? Engaging new audiences with old and new experimental film: The E*Cinema Academy... European Network for Cinema and Media Studies (NECS), Conference – ‘Contours of Film Festivals Research and Methodologies’, Symposium – ‘Archives for Education: Opening up the Archives to Young Filmmakers’.
ISSN: 1610-420X.
Regardless of their content, shortening the shots abbreviates the time the audience has to absorb the information in each shot. Vogman: Processions of various kinds – religious and profane, political and theatrical, Christian and pagan – recur astonishingly frequently in Eisenstein’s films: the workers leaving the factory in Strike (1924); the mourning sequence in the Odessa harbor in Potemkin (1925); the Orthodox procession in The General Line (1928); the peasants forming a long line to extinguish the fire in Bezhin Meadow (1935-1937); the curved line of people in Sloboda, demanding the Tsar’s return to power in Ivan Grozny (1945). Sergei Eisenstein: The Anthropology of Rhythm, a conversation with curators... https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png, Sergei Eisenstein: The Anthropology of Rhythm, a conversation with curators Marie Rebecchi and Elena Vogman.