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基本説明
In this series of essays, written between 1937 and 1940, which were published in English for the first time in this volume, Eisenstein presents the essence of his thinking on cinema and aesthetics more generally.
Full Description
I.B.Tauris is delighted to announce the reissue in paperback in three volumes of the definitive, most comprehensive edition, in the finest translations and fully annotated, of the writings of this great filmmaker, theorist and teacher of film - and one of the most original aesthetic thinkers of the twentieth century. The name of Sergei Eisenstein (1898-1948) is synonymous with the idea of montage, as exemplified in his silent classics such as "The Battleship Potemkin" (1925) and "October" (1927). In the 1930s his style changed, partly to accommodate the arrival of sound, and his ideas on audio-visual counterpoint developed. Between 1937 and 1940 he elaborated his ideas on montage in a series of essays, most of which remained unpublished until after his death and which are published in English for the first time in this volume. They present the essence of Eisenstein's thinking on cinema and aesthetics more generally and reveal him as one of the most significant philosophers of art of the twentieth century.
Contents
General Editor's Preface
Michael Glenny: An Appreciation
Note on Sources
Introduction: Geoffrey Nowell-Smith
On the Story of 'Montage 1937' - Naum Kleiman
Foreword
1 Draft of 'Introduction'
Part One: Montage in Single Set-Up Camera
2 Montage 1937
3 Montage and Architecture
4 Yermolova
Part Two: Montage in Multiple Set-Up Camera
5 Laocoon
6 Pushkin the Montageur
Part Three: Sound-Film Montage
7 [Rhythm]
8 'The Girl like a Ray of Light'
9 On Colour
10 Unity in the Image
11 Tolstoy's 'Anna Karenina' - the Races
12 Montage 1938
13 Vertical Montage
Notes
Index
