# Anne Nesbet (2003). *Savage Junctures: Sergei Eisenstein and the Shape of Thinking*. London ; New York: I.B. Tauris. Author(s): [[Anne Nesbet]] Zotero Link: [Savage Junctures: Sergei Eisenstein and the Shape of Thinking](zotero://select/items/@nesbet_savage_2003) Index: ### Related ### Summary: [[Anne Nesbet|Nesbet]]이 보는 에이젠은 [[Surrealism]]에 공통점 (극과 극?)을 보이며 언제나 두 갈래를 하나의 것으로 함치는 관계의 작업을 한다. ==(인트로 더 읽을 것)== [[The Battleship Potemkin (1925)]]과 [[October (1927)]] 을 이어서 [[The Old and New ]]까지의 [[Sergei Eisenstein|에이젠]은 특히 cubism적인 방향을 보이는데 그것은 시간적인 fourth-dimensional aspiration을 향하고 있다. Mexico, 즉 1020s 후기부터 그는 dreams of depth and transcendence 주제에 dominated 되어 있다. (116) 그리고 그 주제가 가장 강하게 나타난 것이 [[Que Viva Mexico!]] > Eisenstein’s epic journey to Mexico became a journey back from fourth-dimensional aspirations ==to a new appreciation of the power and potential of the ‘flat’ two-dimensional image, the picture within the frame.== (116) 그가 멕시코의 경험에서 가장 inspired한 것은 psuchological interiorities가 모두 the exterior로 특히 surface로 나타난 것이다. → [[interior monologue]] > Washed by moonlight, the regularly breathing abundance of bodies of the soldaderas and their husbands – soldiers – held in close embraces seemed another external embodiment […] The bodies breathed regularly and in unison; the very earth seemed to be breathing; here and there a white blanket showed up, modestly thrown over a pair lying among the others, black in the moonlight, bodies covered by nothing; bodies not knowing shame; bodies for whom what is natural is natural and naturally needs no concealment. > **Mexico as my interior monologue.** (128) 이거한 대화는 1930년 초반 [[James Joyce]]와 만났을 때의 대화에서 연결된다. “How the processes of the mind could be made visible and comprehensible through the film medium.” 이러한 그의 작업이 가장 가깝게 접근한 것은 [[Theodore Dreiser]]의 [[American Tragedy]]이다. [[Sergei Eisenstein|에이젠]]에은 이 프로젝트를 자본주의의 영향에 대한 critic으로 사용하려고 했다. > illustrate the tragedy of the isolated individual, Clyde Griffiths, oppressed by every aspect of his society – and to show how such oppression could work to divide the mind (‘Kill – kill!’ thinks Clyde as he’s in the boat with his pregnant girlfriend, the great barrier between him and his former dreams of success; but also ‘Don’t kill – don’t kill’), so that his motivation turns out to be a kind of inner secret, not even understood by himself. #citeneeded [[Surrealism]]의 [[automatic writing]]과 연결되는 [[automatic drawing]] [[Women’s Misery and Women's Fortune (1929)]] ### Notes: > The new, emerging paradigm may be called evolutionary bioculturalism, or simply bioculturalism. Many years ago, C. P. Snow described the humanities and sciences as two distinct and conflicting cultures. However, radical advances over the past 40 years in our knowledge of the biological functioning of the human brain have led to a convergence between these two cultures. Torben Grodal. Embodied Visions: Evolution, Emotion, Culture, and Film (Kindle Locations 38-40). Kindle Edition.