## 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 - ## 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 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" ```