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Journal articles on the topic 'Eisenstein'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Zabrodin, Vladimir V. "On «Pretty Young Lady», Dos Passos and the Textology of «Art»." Journal of Flm Arts and Film Studies 10, no. 1 (2018): 20–30. http://dx.doi.org/10.17816/vgik10120-30.

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The presented text is a publication of archival materials from the Eisensteins Fund in the Russian State Archive of Literature and Art (RGALI). The author of the publication reconstructed and commented some episodes from creative and personal biography of S.M. Eisenstein in the beginning of the 1930's. In particular, some fragments from private correspondence of Eisenstein and Esther Shub сut when published in the 1970s have been restored; the reasons for the reaction of the director to the of Shubs suggestion to make a film based on the novel Manhattan by John Dos Passos have been elucidated.

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2

Herrera, Juan Carlos Arias. "From the Screen to the Wall: Siqueiros and Eisenstein in Mexico." Mexican Studies/Estudios Mexicanos 30, no. 2 (2014): 421–45. http://dx.doi.org/10.1525/msem.2014.30.2.421.

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The relation between Russian filmmaker Sergei Eisenstein and “The Three Greats” of Mexican muralism has been widely discussed. The opposite connection, the influence of Eisenstein’s ideas and techniques on Mexican artists, however, has been less analyzed. This text examines the relation between Eisenstein’s aesthetic theories and David Alfaro Siqueiros’ poetics of mural painting. Through the analysis of the work The March of Humanity, I propose that Eisenstein and Siqueiros established a productive dialogue focused on the concept of dialectics that, according to them, was the key to producing

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3

Pönni, Antti. "Einstein, Epstein, Eisenstein." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 30, no. 4 (2018): 19–37. http://dx.doi.org/10.23994/lk.69009.

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Artikkelissa analysoidaan ajatusta neljännestä ulottuvuudesta elokuvassa Sergei Eisensteinin ja Jean Epsteinin kirjoituksissa. Tärkeimmät tarkasteltavat tekstit ovat Eisensteinin ”Neljäs ulottuvuus elokuvassa” (1929) sekä Epsteinin ”Eräistä fotogeenisyyden ehdoista” (1924) ja Intelligence d’un machine (”Koneen äly”, 1946). Neljännen ulottuvuuden ajatus Epsteinilla ja Eisensteinilla juontuu ensisijaisesti Albert Einsteinin suhteellisuusteoriasta, mutta sitä tarkastellaan myös suhteessa muihin, 1900-luvun alussa suosittuihin käsityksiin neljännestä ulottuvuudesta. Vaikka Eisensteinin ja Ep

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4

Rusinova, Elena A. "Sergei Eisenstein's ideas in the context of modern cinema art. Audiovisual counterpoint." Journal of Flm Arts and Film Studies 11, no. 3 (2019): 10–16. http://dx.doi.org/10.17816/vgik11310-16.

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Sergei Mikhailovich Eisenstein is not only a great filmmaker but also one of the first theorists of cinema, whose ideas have not lost their significance to this day. Exploration of Eisensteins theoretical heritage reveals the relevance of many of his propositions based both on the practical experience of the director and on his theoretical conclusions and even insights.Such ideas include, in particular, the concept of audiovisual counterpoint introduced by Eisenstein in the famous manifesto Budushchee zvukovoi fil'my. Zaiavka (Statement on Sound) of 1928. In this manifesto, a number of provisi

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Bugaeva, Lyubov. "Aleksandr Bogdanov and Sergei Eisenstein on Emotions: The Affectional, the Theory of Expressiveness, and the Emotional Script." Cultural Science Journal 13, no. 1 (2021): 101–12. http://dx.doi.org/10.2478/csj-2021-0008.

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Abstract In Empiriomonism, Aleksandr Bogdanov introduces the term ‘affectional’ that he borrowed from Richard Avenarius but revised in the light of William James’s theory of emotions. The ‘affectional’ is an index of energy balance between suffering and pleasure. Employing Bogdanov’s revised notions of affectional as an element of any organization or complex, Sergei Eisenstein develops the principles of expressivity. He sees emotions as an organism’s embodied reaction to its interaction with the environment. Eisenstein proposes a notion of an emotional script, which is a narrative of a prospec

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Oeler, Karla. "Eisenstein and Horror." Journal of Visual Culture 14, no. 3 (2015): 317–31. http://dx.doi.org/10.1177/1470412915608138.

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‘Eisenstein and Horror’ places Eisenstein’s unfinished work, Method (2002 [1932–46]) in dialogue with key concepts that have been brought to bear on cinematic horror: ambivalence, excess, affect, and abjection. It argues that in Method, Eisenstein, largely through the astounding range of his examples, de-emphasizes the difference between narrative and non-narrative in favor of a broader compositional perspective that can only strengthen accounts of horror as reflex, and of self-referential horror. In Method, Eisenstein develops the idea that foundational structures of art (metaphor, metonymy,

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7

Kuzovkina, Tatyana D. "Lotman about Eisenstein: Context Reconstruction." LITERARY FACT, no. 1 (27) (2023): 112–30. http://dx.doi.org/10.22455/2541-8297-2023-27-112-130.

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Ethics played an important role for Yu.M. Lotman when he judged some phenomenon of art or the personality of the creator. He thought filmmaker S.M. Eisenstein was a brilliant avant-garde artist, though indifferent to moral issues, and therefore condemned Eisenstein for distorting of history to justify Stalin’s dictatorship. The article deals with Lotman’s reviews of works and personality of Eisenstein: from the earliest — 1945 (Lotman did not like the first series of “Ivan the Terrible”) — to the latest, recorded in the dictated texts of the early 1990s. The literary interest of the 1960s in s

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Khrenov, Nikolai Andreyevich. "S.M. Eisenstein’s Aesthetics in Semiotic Perspective." Journal of Flm Arts and Film Studies 7, no. 1 (2015): 8–25. http://dx.doi.org/10.17816/vgik718-25.

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The article is devoted to the semiotic interpretation of the theoretical heritage of S.M. Eisenstein, the film maker who anticipated the structuralist approach which has been so popular from the 1960s. Back in the 1960s, Eisensteins heritage attracted the attention of Academician Vyacheslav Ivanov because he found there he found a trend for understanding cinema as a language or, to be more precise, as a semiotic system. Vyacheslav Ivanov could not but notice it, as the formation of semiotics methodology in Russia is associated with his name. No wonder that he would reflect on the background of

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Ryabchikova, Natalie S. "Sergei Eisenstein’s “Confusion of Feelings”: Overcoming Apprenticeship Though the Biography of the Teacher." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА 3 (September 2024): 75–94. http://dx.doi.org/10.35852/2588-0144-2024-3-75-94.

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The article examines the relationship between two innovators of 20th-century theatre and cinema — Vsevolod Meyerhold and Sergei Eisenstein — and more specifically, how this re- lationship is refracted through Eisenstein’s texts (and imagination). Meyerhold, as Eisenstein’s mentor, serves as a key element in Eisenstein’s model of understanding his own development and identity as a creator. However, this understanding is not direct but is conveyed through a series of reflections, refractions, and metaphors: Saturn devouring his children; Freud push- ing away his students; Anatole France and his

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Khrenov, Nikolai Andreyevich. "Eisenstein’s Aesthetics in Semiotic Perspective." Journal of Flm Arts and Film Studies 7, no. 2 (2015): 8–19. http://dx.doi.org/10.17816/vgik728-19.

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The article is devoted to the semiotic interpretation of the theoretic heritage of the film director Sergey Eisenstein by Vyacheslav Ivanov whose jubilee has been recently celebrated. Sergey Eisenstein foresaw the structural methodology that became so popular after the 60s. Vyacheslav Ivanov is known for his vast range of academic interests. The present article is focused on his interest in cinema, in particular - the theoretic heritage of Eisenstein. This interest may be explained by Vyacheslav Ivanovs assertion, that Eisenstein tended to see cinema as a language or, more specifically, a sign

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Szczepański, Tadeusz. "„Oszalał!”: Siergiej Eisenstein przygotowuje adaptację „Kapitału” Karola Marksa." Prace Kulturoznawcze 22, no. 3 (2019): 53–64. http://dx.doi.org/10.19195/0860-6668.22.3.5.

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“He went crazy!”: Sergei Eisenstein prepares the adaptation of The Capital by Karl MarxThis article is an analysis of a legendary creative project of Sergei Eisenstein, who at the end of the 1920s was thinking about filming Capital: A Critique of Political Economy by Karl Marx. For years this idea was regarded as anecdotal empty bragging of the eminent director, but his journals from the years 1927–1928 include materials proving that the conceptual work on the film was at an advanced stage. The main idea behind the film fully developed the concept of the so-called intellectual cinema as an ide

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Bulgakova, O., and E. S. Maksimova. "“CRAZY ZOOM MAKES EVERYONE TO FIND HIMSELF IN A DOUBLE ROLE OF A SPECTATOR AND AN ACTOR”." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 3 (2021): 7–21. http://dx.doi.org/10.18522/2415-8852-2021-3-7-21.

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Oksana Bulgakowa is a researcher of visual culture, a film critic, a screenwriter, a director, and a professor at the Johannes Gutenberg University Mainz. She has taught at the Humboldt University of Berlin, the Leipzig Graduate School of Music and Theater, the Free University of Berlin, Stanford University and the University of California Berkeley. Author of the books “FEKS: Die Fabrik des exzentrischen Schauspielers” (1996), “Sergei Eisenstein – drei Utopien. Architekturentwürfe zur Filmtheorie” (1996), “Sergej Eisenstein. Eine Biographie” (1998), “The Gesture Factory” (2005, a renewed editi

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Do Egito, Tinatin. "Ignatius Loyola and Konstantin Stanislavsky in the interpretation of Sergey Eisenstein: from mystical ecstasy to editing." St. Tikhons' University Review 103 (October 31, 2022): 87–107. http://dx.doi.org/10.15382/sturi2022103.87-107.

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The article examines the point of Soviet art's 1920-1930 influence on secular processes in society. The model of the psychology of art proposed by L. Vygotsky, based on Marxist dogmatics, becomes the starting point for the search of creative elite, particularly, for the film director and art theorist Sergei Eisenstein. They are brought together by a common understanding of art as a sign system aimed at awakening strong emotional disturbances in a person, the culmination of which is by Eisenstein's opinion ecstasy, from Vygotsky's point of view - catharsis. Scientists of the Vygotsky's circle,

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Wells, Sarah Ann. "The Brazilian Eisenstein (1961–1981)." Comparative Literature Studies 61, no. 2 (2024): 335–64. http://dx.doi.org/10.5325/complitstudies.61.2.0335.

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ABSTRACT Beginning in the 1960s and 1970s, Latin American filmmakers and filmgoers began to interpret and adapt early Soviet avant-garde cinema of the 1920s in an unprecedented fashion, extending its half-life in innovative ways. In this context, Brazil is a generative but seldom explored site. This article traces the Brazilian reception of Soviet cinematic poetics through the shifting approaches to Sergei Eisenstein in the filmography of Leon Hirszman (1937–1987). Eisenstein’s approaches to montage would shape Hirszman from his first student film to the workerist cinema that characterized his

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Weiss, Katherine. "James Joyce and Sergei Eisenstein: Haunting Samuel Beckett's Film." Journal of Beckett Studies 21, no. 2 (2012): 181–92. http://dx.doi.org/10.3366/jobs.2012.0045.

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Samuel Beckett's Film has been the focus of several articles in the past decade. While current investigations of Beckett's film are diverse, what most of them share is their dependence on biographical data to support their readings. Many scholars who have written on Beckett's failed cinematic excursion, for example, point to Beckett's letter of 1936 to Sergei Eisenstein. However, the link between Beckett's interest in film and his admiration for James Joyce has sadly been overlooked. Both Irish writers saw the artistic possibilities in film and both admired the Russian silent film legend, Serg

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Neuberger, J. "Introduction." Modern History of Russia 11, no. 1 (2021): 214–21. http://dx.doi.org/10.21638/11701/spbu24.2021.114.

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Eisenstein’s Ivan the Terrible is hardly an obscure film, but it has attracted much controversy and many misconceptions. The goal of this book is to re-examine the film in light of everything Eisenstein wrote about it. The introduction to the roundtable establishes the historical, political, cinematic, biographical, and cultural contexts that shape the book’s multi-disciplinary approach to Eisenstein’s work on Ivan the Terrible. The director structured the story of Ivan’s life and reign in an “interrogative mode” in order to raise profound questions about the nature of violence and tyranny and

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Neuberger, J. "Response to Roundtable Comments." Modern History of Russia 11, no. 1 (2021): 252–59. http://dx.doi.org/10.21638/11701/spbu24.2021.120.

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In her response, Neuberger elaborates and extends a few of her key arguments as discussed by Brandenberger, Kleiman, Petrone, Platt, and Tsivian. She focuses on questions involving Eisenstein’s exceptionality, the general reception of Ivan the Terrible, Stalin’s response to the film and its homoeroticism, and fundamental questions about Eisenstein’s interpretation of Ivan and his reign, its application to the present and to all rulers. She clarifies fundamental questions about Eisenstein’s conception of dialectics, and shows his commitment to dialectics as something more than more than binary

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SUKHIKH, E. V. "THE CINEMATIC IMAGE OF MEXICO IN THE FILM QUE VIVA MEXICO! BY SERGEI EISENSTEIN." Imagologiya i komparativistika, no. 22 (2024): 246–61. https://doi.org/10.17223/24099554/22/14.

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Mexico has long been attractive to Russian culture. But, perhaps, only Sergei Eisenstein, who made a real “film discovery” of Mexico, felt a special kinship with this country. Mexico was the final part of Eisenstein’s overseas business trip to Europe and America. For more than a year, the director, together with Grigory Alexandrov and Eduard Tisse, worked on a grandiose epic. Eisenstein was completely captivated by this film. However, the director was not destined to fully realize his idea, his Que Viva Mexico! was released many years later in the editing version by Grigory Alexandrov. Eisenst

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Rohma, Naafi Nur, and Matius Ali. "MONTASE MEWUJUDKAN FANTASI DALAM FILM POHON PENGHUJAN." Capture : Jurnal Seni Media Rekam 8, no. 1 (2017): 63–74. http://dx.doi.org/10.33153/capture.v8i1.1903.

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The research titled Montage Realizing Fantasy in the Rain Tree Film (MontaseMewujudkan Fantasi dalam Film Pohon Penghujan)uses qualitative research methods withÂ a formalist esthetic approach and Eisenstein's montage theory. The problem in thisÂ research is how the montage manifests the fantasy in the RainTree film?The study in thisÂ study focuses on the montage, thus giving meaning in the fantasy film of the Rainbows.Â The analysis used to dissect the problems used Eisenstein montage theory, namelyÂ metric,rhythmic,tonal,overtonal,and intellectual.The results obtained in the researchÂ shows a

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20

Turvey, Malcolm. "Bataille and Eisenstein: In Defense of Michelson's View." October, no. 189 (2024): 169–88. http://dx.doi.org/10.1162/octo_a_00528.

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Abstract In October 188's “Visceral Economies, Queer Dialectics: Eisenstein Meets Bataille,” Elena Vogman argues that there is an “affinity” between Sergei Eisenstein's and Georges Bataille's views, thereby contesting Annette Michelson's verdict that any similarities between them are “superficial.” This article contends that Michelson is right, and that Vogman provides no evidence of an affinity between Eisenstein's and Bataille's thinking. In doing so, I defend the important methodological principle, exemplified by Michelson's work, that theory should not be applied, top down and a priori, to

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Bulgakowa, Oksana. "Sergei Eisenstein’s System Thinking: Influences and Inspirations." Cultural Science Journal 13, no. 1 (2021): 85–100. http://dx.doi.org/10.2478/csj-2021-0007.

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Abstract In 1932, Sergei Eisenstein started work on his key theoretical book, Grundproblem (later Method), which would present his theoretical system. In the very first notes, he defines a goal that seems to be similar to Aleksandr Bogdanov’s tektology: to find a basic structure – an isomorph – for a work of art but also for the growth of plants and bones, for human society and the organization of bees and ants. Eisenstein’s system thinking was inspired and defined by his basic hypotheses: the structure of an artwork is perceived as a form that equates to multi-layered consciousness in the tra

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Popova, Liana Vladimirovna. "Becoming an image in the cinema: from Lessing and Hegel to S. Eisenstein." Культура и искусство, no. 2 (February 2024): 67–77. http://dx.doi.org/10.7256/2454-0625.2024.2.69723.

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The object of the study is the formation of an image in cinema. S.M. Eisenstein defined cinema as a comparison of two methods: the method of image and the method of figurative formation. The image in the cinema is the "image of becoming". The purpose of the study is to trace the evolution of views on the "image of becoming" from G. E. Lessing to G. V. F. Hegel and S. M. Eisenstein. The author refers to the origins of the formation of the "image of becoming", the teachings of G.E. Lessing and G.V.F. Hegel, who had a great influence on S.M. Eisenstein. G.E. Lessing determined that the methods of

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Potapov, Mikhail M. "AN ICON AND CINE FILM: THE CONCEPT OF REVERSE PERSPECTIVE BY PAVEL FLORENSKY IN SERGEI EISENSTEIN’S WORKS." Вестник Пермского университета. Философия. Психология. Социология, no. 1 (2023): 53–62. http://dx.doi.org/10.17072/2078-7898/2023-1-53-62.

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Sergei Eisenstein and Pavel Florensky are notable figures in Russian culture of the beginning of the 20th century. Despite the fact that the film director and film theorist never met the philosopher and theologian, there is a noticeable similarity in the methodology of both cultural figures.Both Pavel Florensky and Ser-gei Eisenstein noted the significant role of the categories of space and time; both willingly used the con-cept of «reverse perspective». Pavel Florensky was one of the first Russian thinkers to theorize this con-cept in detail. This way of depicting space and time took a specia

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Gleeson-White, Sarah. "Auditory Exposures: Faulkner, Eisenstein, and Film Sound." PMLA/Publications of the Modern Language Association of America 128, no. 1 (2013): 87–100. http://dx.doi.org/10.1632/pmla.2013.128.1.87.

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In identifying cinematic qualities—including Eisensteinian montage—in Faulkner's major fiction, scholars have conceived of film as an exclusively visual medium. This essay provides evidence of Faulkner's familiarity with Eisenstein's cinematic praxis by examining the similarities between the novelist's 1934 film treatment of Blaise Cendrars's Sutter's Gold and one that Eisenstein produced in 1930. It then argues that there is a striking continuity between the two treatments in the realm of sound—in particular, the imagining and inscription of film sound. Most surprising is the manner in which

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Petrone, K. "Eisenstein’s Ivan the Terrible and the History of Mentalités." Modern History of Russia 11, no. 1 (2021): 233–39. http://dx.doi.org/10.21638/11701/spbu24.2021.117.

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This essay explores Joan Neuberger’s book This Thing of Darkness (Cornell University Press, 2019) as a work of cultural history. It praises Neuberger’s use of cultural-historical practices such as the history of mentalités and the study of reception to illuminate Sergei Eisenstein’s artistic process and his subjectivity during the creation of Ivan the Terrible. Neuberger’s work also illuminates the mentalités of the Soviet arts establishment seeking to restrain Eisenstein and keep him in line with Soviet cultural norms. Neuberger convincingly argues that Ivan the Terrible is a subversive criti

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Miezaki, Tsuyoshi, and Manabu Oura. "On Eisenstein polynomials and zeta polynomials II." International Journal of Number Theory 16, no. 01 (2019): 207–18. http://dx.doi.org/10.1142/s1793042120500116.

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Eisenstein polynomials, which were defined by the second author, are analogues to the concept of an Eisenstein series. The second author conjectured that there exist some analogous properties between Eisenstein series and Eisenstein polynomials. In the previous paper, the first author provided new analogous properties of Eisenstein polynomials and zeta polynomials for the Type II case. In this paper, the analogous properties of Eisenstein polynomials and zeta polynomials are shown to also hold for the Type I, Type III, and Type IV cases. These properties are finite analogies of certain propert

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Neuberger, Joan. "The Filmmaker in Wartime: Sergei Eisenstein Inside and Out." Slavic Review 79, no. 1 (2020): 76–92. http://dx.doi.org/10.1017/slr.2020.10.

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In 1941, Sergei Eisenstein had a decision to make. Iosif Stalin commissioned him to make a film about Ivan the Terrible, and in the months that followed he vacillated about how to depict the bloody tyrant. The Nazi invasion in June temporarily distracted him from work on the film, but by the time he was evacuated to Alma Ata in October, Eisenstein was committed to making the defiantly unorthodox, transgressive film that we have. What changed? The bombing of Moscow in July compelled Eisenstein to reflect on his public and private responsibilities and on individualism and collectivism in ways th

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Haunin, Vladimir Grigorievich. "The search for the "infinite" and the phenomenon of incompleteness in S. M. Eisenstein’s work." Vestnik of Saint Petersburg State University of Culture, no. 2 (63) (2025): 139–44. https://doi.org/10.30725/2619-0303-2025-2-139-144.

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Sergei Eisenstein spent almost his entire conscious life in search of the "infinite". By this concept we mean a sociocultural approach to the boundaries of perception of works and products of art and world art culture precisely in the context of the work of an outstanding director, teacher, thinker and artist. Infinity is undoubtedly not a quantitative value; infinity is a principled refusal of boundaries and, at the same time, in a certain sense, a boundary of boundlessness in the limitedness of boundaries. For Eisenstein, as for Aristotle, there is no dogma of the permanent; his artistic wor

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Feitosa, Susanna Busato. "Oswald e Eisenstein: relações intersemióticas." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 241–49. http://dx.doi.org/10.17851/2317-2096.8..241-249.

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Resumo: Estudo acerca das relações intersemióticas entre procedimentos estéticos presentes na poesia de Oswald de Andrade e na teoria da montagem de Eisenstein. O mecanismo da montagem promove o pensamento relacional e atua no nível da sintaxe analógica, de modo a causar, pela proximidade e contraste dos elementos, o instrumento necessário à construção da imagem e do pensamento. A poesia de Oswald é operada semioticamente de modo a deflagrar os efeitos imagísticos decorrentes do mecanismo da montagem estrutural.Palavras-chave: montagem; poesia; semiótica; Oswald de Andrade; Eisenstein.Abstract

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Hadi, Abdul, Uha Isnaini, Indah Emilia Wijayanti, and Martianus Frederic Ezerman. "On Algebraic Properties of Primitive Eisenstein Integers with Applications in Coding Theory." Entropy 27, no. 4 (2025): 337. https://doi.org/10.3390/e27040337.

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An even Eisenstein integer is a multiple of an Eisenstein prime of the least norm. Otherwise, an Eisenstein integer is called odd. An Eisenstein integer that is not an integer multiple of another one is said to be primitive. Such integers can be used to construct signal constellations and complex-valued codes over Eisenstein integers via a carefully designed modulo function. In this work, we establish algebraic properties of even, odd, and primitive Eisenstein integers. We investigate conditions for the set of all units in a given quotient ring of Eisenstein integers to form a cyclic group. We

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Gomes, Paulo Emilio Sales. "Ensaios sobre Eisenstein - a formação de Eisenstein." Literatura e Sociedade, no. 6 (December 6, 2002): 334. http://dx.doi.org/10.11606/issn.2237-1184.v0i6p334-337.

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Gomes, Paulo Emilio Sales. "Ensaios sobre Eisenstein - Eisenstein e a massa." Literatura e Sociedade, no. 6 (December 6, 2002): 338. http://dx.doi.org/10.11606/issn.2237-1184.v0i6p338-341.

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Gomes, Paulo Emilio Sales. "Ensaios sobre Eisenstein - Eisenstein e a mística." Literatura e Sociedade, no. 6 (December 6, 2002): 342. http://dx.doi.org/10.11606/issn.2237-1184.v0i6p342-345.

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Gomes, Paulo Emilio Sales. "Ensaios sobre Eisenstein - Eisenstein e o herói." Literatura e Sociedade, no. 6 (December 6, 2002): 346. http://dx.doi.org/10.11606/issn.2237-1184.v0i6p346-350.

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Wilson, Lucas F. W. "Inherited Traumatic Threads: Postmemory and the Dis/function of Hand-Me-Downs in Bernice Eisenstein’s I Was a Child of Holocaust Survivors." Canadian Jewish Studies / Études juives canadiennes 32 (October 25, 2021): 86–98. http://dx.doi.org/10.25071/1916-0925.40243.

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Bernice Eisenstein’s I Was a Child of Holocaust Survivors demonstrates how hand-me-downs function as physical links that Eisenstein uses when attempting to bridge the gaps between herself, her late father, and his Holocaust past in order to address her postmemory; however, as much as these hand-me-downs allow her to address her postmemories, they reinscribe inherited traumas that stem from her father’s Holocaust past. Eisenstein’s work serves as a generative example of how the second generation’s relationships to such clothing often reflect how they inherit and are “dressed in” their postmemor

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Drewniak, Dagmara. "Addicted to the Holocaust – Bernice Eisenstein’s Ways of Coping with Troublesome Memories in I Was a Child of Holocaust Survivors." Studia Anglica Posnaniensia 50, no. 2-3 (2015): 39–50. http://dx.doi.org/10.1515/stap-2015-0022.

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Abstract In her I Was a Child of Holocaust Survivors published in Canada in 2006, Bernice Eistenstein undertakes an attempt to cope with the inherited memories of the Holocaust. As a child of the Holocaust survivors, she tries to deal with the trauma her parents kept experiencing years after WWII had finished. Eisenstein became infected with the suffering and felt it inescapable. Eisenstein’s text, which is one of the first Jewish-Canadian graphic memoirs, appears to represent the voice of the children of Holocaust survivors not only owing to its verbal dimension, but also due to the drawings

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Lushchenkov, Nikita. "History and art pieces in the film “Alexander Nevsky” by Sergei Eisenstein." Scientific and analytical journal Burganov House. The space of culture 17, no. 2 (2021): 114–23. http://dx.doi.org/10.36340/2071-6818-2021-17-2-114-123.

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The heritage of Sergei Mikhailovich Eisenstein nowadays is a serious subject for scientific research. In the last two decades the original articles and books of the great director “cleared” of Soviet censorship and abbreviations, have been published, and the study of existing and lost cinematic works of the master continues nowadays. The film “Alexander Nevsky” (1938) was shot under the conditions of the already existing order for the arrest of Eisenstein, but the final approval of the film by Stalin actually suspended the prosecution of the director. The problem of including images of Russian

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Kepley, Vance, Jacques Aumont, Lee Hildreth, Constance Penley, and Andrew Ross. "Montage Eisenstein." Russian Review 48, no. 4 (1989): 450. http://dx.doi.org/10.2307/130417.

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Guzzetta, Charles. "Morris Eisenstein." Journal of Teaching in Social Work 3, no. 1 (1989): 161–64. http://dx.doi.org/10.1300/j067v03n01_13.

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Frauenfelder, Hans, and Peter G. Debrunner. "Laura Eisenstein." Physics Today 39, no. 6 (1986): 109–10. http://dx.doi.org/10.1063/1.2815060.

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Anemone, Anthony. "Sergei Eisenstein." Historical Journal of Film, Radio and Television 30, no. 1 (2010): 119–21. http://dx.doi.org/10.1080/01439680903577342.

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Lastra, James. "On Eisenstein." Modernism/modernity 2, no. 3 (1995): 163–67. http://dx.doi.org/10.1353/mod.1995.0054.

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Poleshuk, Ruslan. "Applying categories of H.V.F. Hegel’s philosophy for cultural study of soviet cinematography of the 20-30's of the 20th century." Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, no. 23 (2022): 104–10. http://dx.doi.org/10.34079/2226-2849-2022-12-23-104-110.

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The article compares the filmmaking of S. Eisenstein and O. Dovzhenko, from the point of view of Hegelian concepts, including the modern understanding of concrete and abstract unity. The work revealed the cultural content of Hegel's concepts "spirit of the people", "spirit of the time" and "spirit of the world", "progress" and "freedom", as well as the modern understanding of Hegel's dialectics. The work offers a cinematic context of Hegel's concrete and abstract unity. According to our conclusion, the philosophical context of O. Dovzhenko's filmmaking has fundamental differences from the cine

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Grobner, Harald. "Regular and residual Eisenstein series and the automorphic cohomology of Sp(2,2)." Compositio Mathematica 146, no. 1 (2009): 21–57. http://dx.doi.org/10.1112/s0010437x09004266.

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AbstractLetGbe the simple algebraic group Sp(2,2), to be defined over ℚ. It is a non-quasi-split, ℚ-rank-two inner form of the split symplectic group Sp8of rank four. The cohomology of the space of automorphic forms onGhas a natural subspace, which is spanned by classes represented by residues and derivatives of cuspidal Eisenstein series. It is called Eisenstein cohomology. In this paper we give a detailed description of the Eisenstein cohomologyHqEis(G,E) ofGin the case of regular coefficientsE. It is spanned only by holomorphic Eisenstein series. For non-regular coefficientsEwe really have

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BRAMI, THOMAS. "Integrated Soundtracks, Sergei Eisenstein, and Man-Eating Mermaids that Sing." Music, Sound, and the Moving Image: Volume 14, Issue 1 14, no. 1 (2020): 3–21. http://dx.doi.org/10.3828/msmi.2020.2.

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This article analyses the relationship between integrated soundtracks and genre through an examination of The Lure (2015). I discuss the filmmakers’ collaborative practice, and identify how the film integrates music, sound, and image in order to manipulate the codes of horror, fantasy, and the musical in a seamless and cohesive way. As well as positioning this practice within contemporary trends, this article also finds a historical precedent in Sergei Eisenstein’s writings and films. First, I chart the overlaps between Eisenstein and composer Sergei Prokofiev’s fluid collaborative working met

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Penkovskaya, Inna Igorevna, and Yulia Vladimirovna Slozhenikina. "The principles, content and evolution of Sergei Eisenstein’s “Granite of Film Science” curriculum for film directors." Pan-Art 4, no. 4 (2024): 279–87. http://dx.doi.org/10.30853/pa20240040.

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The research aims to present Sergei Eisenstein’s groundbreaking curriculum for film directors, “Granite of Film Science” (1933), as a pioneering educational product and as a reflection of his aesthetic philosophy. The authors analyze the principles and content of the curriculum, as well as its subsequent evolution into “A Program for Teaching the Theory and Practice of Directing” (1936). Eisenstein, a pioneer in film directing education, developed the first curriculum for film directors, whose principles were later incorporated into his foundational works “Method” and “Montage”. He proposed a

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Salnikova, Anastasija N. "Lafcadio Hearn and Russia." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 21, no. 3 (2021): 302–7. http://dx.doi.org/10.18500/1817-7115-2021-21-3-302-307.

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The article studies the reception of the Anglo-American writer Lafcadio Hearn in Russia. The author analyzes the literary influence of L. Hearn on K. Balmont and his individual mythology, reveals the connection with such Russian cultural figures as S. Eisenstein and P. Florensky. The essay “Living God” by L. Hearn is compared with its translation by K. Balmont. The use of color in works by L. Hearn is considered from the standpoint of Eisenstein’s sound and visual correspondences.

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Salnikova, Anastasija N. "Lafcadio Hearn and Russia." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 21, no. 3 (2021): 302–7. http://dx.doi.org/10.18500/1817-7115-2021-21-3-302-307.

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The article studies the reception of the Anglo-American writer Lafcadio Hearn in Russia. The author analyzes the literary influence of L. Hearn on K. Balmont and his individual mythology, reveals the connection with such Russian cultural figures as S. Eisenstein and P. Florensky. The essay “Living God” by L. Hearn is compared with its translation by K. Balmont. The use of color in works by L. Hearn is considered from the standpoint of Eisenstein’s sound and visual correspondences.

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BACHMANN, HENRIK, and KOJI TASAKA. "THE DOUBLE SHUFFLE RELATIONS FOR MULTIPLE EISENSTEIN SERIES." Nagoya Mathematical Journal 230 (May 8, 2017): 180–212. http://dx.doi.org/10.1017/nmj.2017.9.

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We study the multiple Eisenstein series introduced by Gangl, Kaneko and Zagier. We give a proof of (restricted) finite double shuffle relations for multiple Eisenstein series by revealing an explicit connection between the Fourier expansion of multiple Eisenstein series and the Goncharov co-product on Hopf algebras of iterated integrals.

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Vogman, Elena. "Visceral Economies, Queer Dialectics: Eisenstein Meets Bataille." October, no. 188 (2024): 117–48. http://dx.doi.org/10.1162/octo_a_00520.

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Abstract Mapping the encounters between Sergei Eisenstein and Georges Bataille in Paris in 1930, this essay reveals a new dimension of their respective approaches to materialism and the body, as explored, for instance, through a shared cannibalistic and visceral model of mimesis, one that operates below the visual or phenomenological qualities previously addressed by the discourse on the formless carried out by Georges Didi-Huberman, Rosalind Krauss, Yve-Alain Bois, and Annette Michelson, among others. The present text argues for the existence of something it calls a visceral economy, pointing

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