eisenstein_montage-and-architecture

eisenstein_montage-and-architecture - SERGEI M. EISENSTEIN:...

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1 SERGEI M. EISENSTEIN: MONTAGE AND ARCHITECTURE (CA. 1938) IN: ASSEMBLAGE 10, DEZEMBER 1989, S. 111-131 [When talking about cinema], the word path is not used by chance. Nowadays it is the imaginary path followed by the eye and the varying perceptions of an object that depend on how it appears to the eye. Nowadays it may also be the path followed by the mind across a multiplicity of phenomena, far apart in time and space, gathered in a certain sequence into a single meaningful concept; and these diverse impressions pass in front of an immobile spectator. In the past, however, the opposite was the case: the spectator moved between [a series of] carefully disposed phenomena that he absorbed sequentially with his visual sense. This tradition has been preserved in any child’s drawing. Not only has the movement of the eye been given back to the action of the child himself moving in space, but the picture itself appears as the path along which a number of aspects of the subject are revealed sequentially. This is a typical child’s drawing. 1 As a representation of a pond with trees along its bank it appears meaningless until we understand its internal dynamics. The trees are not depicted from one viewpoint, as adults are accustomed to show them in a picture or in a single frame of film. Here the drawing depicts a series of trees as they are revealed along the path that the observer follows between them. If the line AB represents the path taken by the observer, then at any given point in the sequence one through nine each separate tree is disposed entirely »reasonably«: it represents a frontal view of the tree in question at each corresponding point on the path. Exactly similar are the surviving drawings of old Russian buildings, such as, for instance, the fifteenth-century (?) palace of Kolomenskoye, in which there is an identical combination of »plan« and »elevation«. 2 For here the path is a movement across the plan, while the frontal views of the buildings are shown in elevation, seen from specific points on the plan. 1 This drawing has not been traced, but a similar argument, leading to a work by David Burliuk that was clearly marked by his fondness for children’s drawings, can be found in S. M. Eisenstein, Non-indifferent Nature , trans. Herbert Marshall (Cambridge: Cambridge University Press, 1987), 247-48. 2 Kolomenskoye, now in the southeastern suburbs of Moscow, became the summer residence of the Grand Princes of Muscovy in 1532. The wooden palace referred to here was begun in 1667 but has not survived.
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Sergei Eisenstein 2 This can be seen even more vividly in the example of an Egyptian painting, representing a pond with trees and buildings around it, depicted according to exactly the same principle. 3
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eisenstein_montage-and-architecture - SERGEI M. EISENSTEIN:...

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