## Matthew Solomon (2015). *Sergei Eisenstein: Attractions/Montage/Animation*. : Rutgers University Press. > [!INFO] > Type:: [[&]] > Title:: Sergei Eisenstein: Attractions/Montage/Animation > Author(s): [[Authors/Matthew Solomon]] > Year:: 2015 > Tags:: > DOI:: > Citekey:: solomon_sergei_2015 > ZoteroURI:: [Open in Zotero: Sergei Eisenstein: Attractions/Montage/Animation](zotero://select/items/@solomon_sergei_2015) > ReviewedDate:: [[2022-12-05]] ## Citation ```latex [@solomon_sergei_2015] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@solomon_sergei_2015]] and -"Plans" and -"resources" ``` ## Summary - 에이젠의 몽타주 컨셉에는 unitary 'concept of montage'가 없다. 그래서 자크 오몽은 컨셉이 아닌 원리로 보았다. [[@aumont_montage_1987]] - Attraction 과 Animation 을 몽타주 원리와 나란히 비교한다. ## Notes: > [[Jacques Aumont]] notes at the outset of his book Montage Eisenstein that “there is no unitary ‘concept of montage’ that comes to theoretical fruition over the course of his career—at least not in the limited, rationally defined, and constant form by which one could characterize a true concept” (viii–ix). Thus, Aumont considers the more general “principle of montage” in Eisenstein’s writing. ([[@aumont_montage_1987]], viii–ix). [Solomon 2015:77](zotero://open-pdf/library/items/CBF9NFZW?page=2) > As Bulgakowa suggests, consideration of Eisenstein as a film theorist must simultaneously engage with his films, which provided a working laboratory for developing and testing ideas while also later serving as objects for critical self- reflection and self-investigation. [Solomon 2015:78](zotero://open-pdf/library/items/CBF9NFZW?page=3) > For Eisenstein, the shot is the basic unit of cinema, but it acquires meaning only insofar as it is placed into relationships with other shots. [Solomon 2015:80](zotero://open-pdf/library/items/CBF9NFZW?page=5) > The point is that the copulation—perhaps we had better say the combination—of two hieroglyphs of the simplest series is regarded not as their sum total but as their product, i.e. as a value of another dimension, another degree: each taken separately corresponds to an object but their combination corresponds to a concept. The combination of two ‘representable’ objects achieves the representation of something that cannot be graphically represented. > For example: the representation of water and an eye signifies ‘to weep,’ the representation of an ear next to a drawing of a door means ‘to listen,’ a dog and a mouth mean ‘to bark.’ ( [[@eisenstein1988Shot]], 82–83; emphasis in original) > “montage is not an idea composed of successive shots stuck together but an idea that DERIVES from the collision between two shots that are independent of one another” (The Dramaturgy of Film Form 95; emphasis and capitalization in original #noFile) > “At the same time, however,” writes [[Peter Wollen|Wollen]], “he moved away from the role of montage as the agent of reason (as exemplified in his project of filming Marx’s Capital) toward its capacity for arousing emotion, toward ecstasy as the final goal” ([[@wollen_perhaps_1999]], 46). [Solomon 2015:81](zotero://open-pdf/library/items/CBF9NFZW?page=6) ## Annotation Extracted Annotations: 10/03/2021, 20:25:07 10/03/2021, 20:25:07 hinking about cinema as well as for his film practice, but Jacques es at the outset of his book Montage Eisenstein that “there is no ept of montage' that comes to theoretical fruition over the course —at least not in the limited, rationally defined, and constant form could characterize a true concept” (viii–ix). Thus, Aumont consid- [Link](zotero://open-pdf/library/items/CBF9NFZW?page=2 ) kowa suggests, consideration of Eisenstein as a film theorist must sly engage with his films, which provided a working laboratory for nd testing ideas while also later se [Link](zotero://open-pdf/library/items/CBF9NFZW?page=3 ) Montage n, the shot is the basic unit of cinema, but it acquires meaning [Link](zotero://open-pdf/library/items/CBF9NFZW?page=5 ) pired to “intellectual effects” generated by intellectual montage. time, however,” writes [[Peter Wollen|Wollen]], “he moved away from the role of he agent of reason (as exemplified in his project of filming Marx's rd its capacity for arousi [Link](zotero://open-pdf/library/items/CBF9NFZW?page=6) ### Related ```dataview LIST FROM [[@solomon_sergei_2015]] and -"Plans" and -"resources" ```