Results 41 to 50 of about 213 (150)

Eisenstein contemporain : entretien avec Antonio Somaini

Intexto, 2016
Entretien avec Antonio Somaini à propos des films, des écrits et des dessins de Sergei Eisenstein. Somaini est actuellement un des plus grands spécialistes de l’œuvre d’Eisenstein.
Bruno Leites
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Film as a Dream of the Modern Man: Interpretation of Susanne Langer’s “Note on the Film”

Eidos. A Journal for Philosophy of Culture, 2020
The paper concerns a “Note on the Film,” a short appendix to Feeling and Form by Susanne Langer. The interpretation interweaves the Note into a larger context of Langer’s philosophical work – primarily in terms of her understanding of the dream as a ...
Tereza Hadravová
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Sergei Eisenstein and Jean Painlevé: science is animation [PDF]

Critical Quarterly, 2017
Eisenstein's Parisian time is crucial in helping us to understand certain fundamental aspects of his surrealist vision of Mexico, as well as to grasp the influence of his conceptualisation of the principle of 'intellectual and conflicting' montage within 'heterodox' surrealism. The dissident branch of surrealism was predominately represented by Georges
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Thomas Brasch et l’avant-garde russe et soviétique (Eisenstein – Tretiakov – Khlebnikov)

Cahiers d’Études Germaniques
This article presents the influence of three representatives of the Russian and Soviet avant-garde on Thomas Brasch who have received little attention in research to date.
Carola HÄHNEL-MESNARD
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Lo schermo come quadrato dinamico e l’architettura di vetro

Rivista di Estetica, 2014
In a phase of the history of film and media theories, such as ours, characterised by an intense debate about the notions of medium and dispositif, going back to authors such as Dziga Vertov and Sergei M. Eisenstein, Siegfried Kracauer and Walter Benjamin,
Antonio Somaini
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Ekstatyczne eksplozje. Wajda, afekty i reparacja

Teksty Drugie, 2018
Andrzej Wajda’s films are based on visual excess. His method consists of a loose stringing together of contrasting images, which brings to mind Sergei Eisenstein’s notion of pathos. Both Wajda and Eisenstein conceive of affects as structures that work on
Sebastian Jagielski
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1917-1927: Russian Film between the Old and the New: Genres, Narratives and Bodies

Revue des études slaves, 2019
There are different forms of continuity and shifts in the Russian film after the October Revolution. On the one hand, films by Alexander Panteleev, Vladimir Gardin, and Czeslaw Sabinski adapted the new post-revolutionary reality to the established genres
Oksana Bulgakowa
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Montagem e Imagem como Paradigma

Revista Brasileira de Estudos da Presença, 2016
O pensar como montagem e imagem tornou-se um método revelador nos processos de estudos práticos e teóricos do artista e dos pesquisadores nos séculos XX e XXI. Este artigo procura articular três formas de pensar por montagem: nas obras de Bertolt Brecht,
Cesar Huapaya
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Montage in Russian Imaginism: Poetry, theatre and theory

Sign Systems Studies, 2013
The article discusses the concept of montage as used by the Russian Imaginist poetic group: the montage principle in their poetry, theoretical writings and theatre articles.
Tomi Huttunen
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Sergey Eisenstein. A Look into Eternity

Journal of Flm Arts and Film Studies, 2018
For the 120th anniversary of S. M. Eisenstein, the Department of interdisciplinary research of the Institute of cinematography of VGIK held a seminar " Sergei Eisenstein. A look from 2018." His task was to discuss with the student audience the specifics of the representation of the image of the great Director and his films in the latest literature. The
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