EisensteinNotes - Like Eisenstein and Bazin you should...

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Like Eisenstein and Bazin, you should probably start with a passionate evaluation, but use this evaluation as the point-of-departure for a larger and more wide-ranging discussion of the specific theoretical issue or issues, however digressive, which the film raises for you. You must make reference to specific ideas (at least three) from other readings to support your point—these can either be quoted directly or paraphrased, but you will need to provide specific citations for each. Disney as a Utopian Dreamer: Oksana Bulgakowa Eisenstein starts with eloquent description of the unstable stability achieved by Dinsey in the creation of plastic form. -Unstable stability is paradoxical because Disney’s forms seem to exist in a continuous state of self-dissolution -This plasmatic property (shared by elements of origins—water, fire, air, sand) functions within a form created by a line’s contour -Line is form’s limit -In Disney, line is constantly in motion -Stretching, extending itself, dancing -Gives the line-drawing plasticity Metamorphosis -Property of Disney’s form, which embodies the essence of art -“Animated Cartoon” - Anima and Animation -The life and movement of things -Bringing things to life by making them move Disney’s animals create a modern animal epic -Supports Eisenstein’s view towards animistic beliefs (totems, myths of origin) -Eisenstein believes relations between humans and natures still follow an archaic model based on ritual -Unity of opposites -This unity creates ecstatic moments experienced in the passage from one state to another. Could be scary/funny -“Disney’s comic bestiary confronts the uncanny animals of Edgar Allen Poe, but also Eisenstein’s own ecstatic cows and oxen, which copulate like mythical beings
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Utopia -Disney presents promise of freedom within the relationship of people to nature -Disney’s work is a utopian promise of liberation from ossified form -Eisenstein discovers a deep longing for freedom, which would allow a fresh reimagining of relations between human and nature, and even perhaps their reformation. “Disney emerges as the central object of analysis because his work unites animism and totemism with plasmatic qualities of form, synaesthetic perceptions of sound and color, and perfect visual rhythm.” Animism, wherein thoughts and feelings for the interconnectedness of all elements and kingdoms of nature wandered blindly, long before science solved the puzzle of this configuration with its sequences and stages.”
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