## Sergei Eisenstein (2016). *The Heir*. : Amsterdam University Press. > [!INFO] > Type:: [[&]] > Title:: The Heir > Author(s): [[Sergei Eisenstein]] > Year:: 2016 > Tags:: > DOI:: > Citekey:: eisenstein_heir_2016 > ZoteroURI:: [Open in Zotero: The Heir](zotero://select/items/@eisenstein_heir_2016) > ReviewedDate:: [[2023-03-15]] ## Citation ```latex [@eisenstein_heir_2016] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@eisenstein_heir_2016]] and -"Plans" and -"resources" ``` ## Summary - 에이젠슈테인이 말하는 그 원형은 [[neo-baroque]]에 있다. - “Its [cinema’s] origin in the ruins of the “second baroque”.2” (Eisenstein, 2016, p. 109) - The “second baroque” (or neo-baroque) refers to one of the stylistic tendencies of eclecticism, manifested from the middle of the 19th century to the beginning of the 20th century mainly in architecture, but also in sculpture, the applied arts, and industrial design. In Russia certain features of the “second baroque” were used in the style of art nouveau, which emerged at the turn of the century in the period of cinema’s birth. - 첫 문장부터 에이젠슈테인은 묻는다. 새로운 totality는 무엇이냐고. 그가 보기에 새로운 totality는 the social pre-condition and [the] technical [one] coincide. - synthesis는 recurrence되어온 방향성이다. - 그리스 (dithyramb 니체)—liturgies(예배식, 건축, 오르간, 스테인글래스, plain chant, the merging of the audience with the action.)—[[Denis Diderot|Diderot]]—[[Richard Wagner]]—Scriabin(러시아의 작곡가; 신지학(神智學)의 영향을 받아 신비 화음을 만들어냈음)—we (p. 110) - 각 예술은 질적으로 새로운 방식으로 내재되어 있어 유기적으로 분리할 수 없다. - [?] 시네마에 내재되어 있는 것은 무엇일까? 리듬? 시간? - “basic phenomenon of cinema” [in Russian: “osnovnoi fenomen kino”, or “prafenomen kino”], that is, the eidetic confluence (“superimposition”) of still images (frames) into the movement of one uninterrupted shot in the viewer’s perception. ([[@eisenstein_towards_2010]], 109-123) - [[Montage|몽타주]]란 the ultimate exposure of the fundamental patterns of being → **unity in diversity** - “Montage as a purposeful (tendentious), socially conditioned, ideologically tendentious *reconstruction of reality in images.*” (Eisenstein, 2016, p. 113) - “Photography and the urge* to record a phenomenon.” (Eisenstein, 2016, p. 113) - “Cinema and the urge* to record a process.” (Eisenstein, 2016, p. 114) - “Sound cinema and the urge* to record sound processes.” (Eisenstein, 2016, p. 114) ==여기서 들뢰즈가 말하는 necessity와 울린다.== ## Annotation ### Related ```dataview LIST FROM [[@eisenstein_heir_2016]] and -"Plans" and -"resources" ```