Table Of Content

NONINDIFFERENT NATURE Contents Pu Th Cambridge 32 2IRP lo I:::duTtio_n ia by Herben Easre Acknowledgmenß @-Cambridge Univers¡ry press l9g7 vii Notes on the Eanslation xxii Firsr pubtished l9g7 ro<iii Poor Salieri (instead ofa dedication) Printcd ¡n thc Unitcd Srarcs of America !nthe suuctuÌe ofthings 1 Library of Congrcss Czttaloging-in-publication l)ata Organic unity and patåos 3 Eiscnsrcin, Scrgci, 1898_I948. U 10 Patàos Nonindiftcrcnt naturc. ,/ (Cambridgc srudics in tilm) d the Holy Grail 38 'franslation of: Ncravnodushnaia priroda. g columns 38 1. Moving-pictures - Aesthetics. 2. Moving-pictures _ 59 PPssyycchhoollooggiiccaall aassppeecctrss.. I3.. MAaerssthhearlli,c sn.e rU+.e Àrt,.i, _---, Pira¡esi or the flux of form r1925 1906- II. Tirte. IlL Series. $amnles of ecstasyl r23 PNt995.E53l3 1987 791.43 86_33457 The Gothic 154 Superconcreteness ËBirzireisnhs hLreibinra, rSye rCgeaitatogúing_in_publication Data I ü" quesrion of suprahistory 11ó559 The kangaroo 178 Nonindìfferenr narure. _ (Cambridge studies in ñlm). III 183 l. Moving-picturcs Once ag¡in 6¡ the sEucture of things l.'l-irtc 200 fV 791. :l'ot PN1995 Nonindifferentnature i:i;t:i:r"#dscape and the fate ormontase counrerpoint 216 lsBN 0 52t 3241s 7 Epilogue 276 postscript 383 388 Notes 397 Index v 419 Introduction by llerbert Eag1le Nature to '.poor Salieri,,,who, ,'...True laments: tone I must be followed by ,.ever do." Thus, Nonindifferent MPoinrtisratriyt socfu Crpurluturer eo of fs rehr;gUeS-i SERis ef_onrs ttneein fbisye Fnrsetdedin.a _MBursilei uam',)t,. rggT (acquired by ttre unrque approach to the art. vu IDtroduction InEoduction stage ofthe D( and music, ultimately expositions pa' an ph Th rson, the visible thing, is only an . given in the quality of a semantic In his articres of tle late 1g20s (inctuding rhe famous programmatic dstraorve,m aebnot,u rs itghnee dfu bnyc thioisn cooru seoagùune¿i t-hien ìdiiåre.cr to,ros , pbuedionvgk rined auncde dA rtoo rrah¡e- stein emphasized the collrsrbn of the superstitious). to t-he problem of iîi*: suar,, aspecrs "?lffirïi rgenic and syncretic rating inpulses along Int¡oduction IDùoduction w"poaIrtnkhs o" som"n ut hsteht ehp eosistgrshuetcestnsue rqdeu oaemfli trioehtsiion ngthasar, "ts tEaatrieso eupnsrseot depuianc sedsdei osbniyg niwnao tretkhdse bio¡y i r uethrctee. isvte,errr.msh. gsaivmese ttàime eim uangaev ooidf athbalyt sgaromwe st hoeumt eo ff riot,m the opposite point of uiew and at the qtlE(aeituovaiaasonklpeiiitadnyn ,loags_ bust ettltthyroi nue o a csafttleo susormosrmnee eea rtti sihnedterid eanli ftngn,st ht seiooacitxrptaii o gprtsnh iotnwa issatsiio trtiec h sGs o, to uhroeemlu dcewmes kho ttaahmcancicntey ugbap:¡ rne "eeoihTlcnnsaeógefdvy ),.. ibe otþSoediy u isbicnmtohe. e" mts bah-idene[ethsert he ga oo ivrnpfniþo rle.-or .ãa sobe iertcinerr of"tmp mrai.asi rpltern hotudo esni nis'-a-, :tprTa:husoh iea n tcw, ahtehoselue rs:a tosth lmien y se eaaqccuhtei oonnfc seth oeof f frimretnpmioboati'unersrream l ip rootyiafnsn rtagãeths¡ mrei fesoe btf cr ir rthaftmelohcep ee:ela a tt .dmcnceeeeuadn sds ttrpb aVbryreae ncJkgaeauinea roi srnt fuo sctr thhaiblue Iuink nire.l e dsthbAs eea,t iglfraiiahoInmiinnds was to fuse the structure of human emotiónat behaviorwith the receive/s - It was 'The reap to a new qualiry" howevel, that became for Eisenstein woceteeiowoxlmeempnElnmlpe s ipasfhr eioiesIeaonms nntEftiis tcscsmeiteo e moa niBilnoee ofa fs ot tlZisotttoful}o uoetnrtelkscheas ehhe' ,cs dti o pfo wprpn to hrpootmoem eorsbnkent eteo o.it,romta mhrAfpek erhpagiennhorux tayrt.a(ai s1cnsriwa9doe be2lore orr5uka eg)irpnn aidcuadgt.anhs lñdphti nh.uk oaAegineonm,ldet "'siq ,ðx ptua Eposisncoyip sakcebeeeehtreenrnoy cs le,ro hrtudeeag.e iicnncvhTrJas eehtrarraay.ern r tàm etJ¡sb fdya9pte zrn3aauiei9nitfcnd,e) t t ,saui thnthnaaaigedssl- .tetr¡hhvnhaeitsri etu mle¡seooud. sb tT"tdj ePhicamaetts nhpetooh dssra,ttt"uat h dnhwietee h scridc hvcehaove rcnoawostcemttièd(trupr prgittrseaheiinstre i2etðgai c s rmodure) felfor ta itolsetarJhpt,si lpeo åetohof d 'efpstH h jaectteetelh"ha saafäobi prpsois "nt rfetc"tra oorothts imHnao thswrn ftäet rhro uoi:eotfcft l rreîttlgriihfontoaeien nïn ri.:i ani ec:inla:I td"upit ng.*w nit4fiîionfat6e:y ts:_rot heî7o t;enoa,ft nETehisewe Bnqsoutyaealiinrtiyn d.ae Mrivoerdo ztowvoa bkye yv .p Ir.i nscuirpikleosv:. oFrrgoamn itc,e suen ictyo mapnadr athtieve l esatpud tioes a, (ththe ew aocrkto or f Fvraérdioéu¡sic wk-rLiteeTrsa î(tZreor,a ,t hweh pimoer ta nn,a zawyeaigr,<pöussnt¡ú;iníi; õpe rhfoisrm oewrsn Although the notion of organicity might seem to be somewhat of a "d.a". :V9i)n, cai)n.d a¡tists (Claude Monet, Vincent van Gogh, ft Cr""oir"onardo fccorolroigcrmrhaeén st,iphc E oeuin snwdeisotny srt ktooe,f i natah r tieswoeo orskra_ kwwt,h hseae socn owf n tetrchelel ep ar ts as qtwtruhu eiocte tfsu leti¡thneees re aoc rfool yfno soartgr'r'gdua..cn rstriicipo" e npuc hinofeiifctn yatoh lmrriyese:c new,a.ivTo eh¡odkef Ien at hnoadf n at hgtherie c1yurü lateuwrer,e hi,n isp pafoitlàtmeo¡isnc k c¡ponan ewsathtnue crre_o nature-" rn Battleship potemkin, Eisenstein found t}'at att five parts of task in rhe otd and thervewwas ," ;:i.ïilT;*r::tïå:tÏlj;Jlå trshetveruo fcluitltumiora,n laa rlsay wwb er(olelt vìaeidsreh rnohcoeed f.o ilgmfr oa va vgsse fanro ewmrah loa ol ers,g ma*an"ni c ginoocrodipe"i_re)"n. atI -n,ú.c Veela'lt,c," h in "pt*oa"r ta, tl"ehtlrtdoo suFegie hna c"errxrrp ""r"e"oistisJi"i-v"se-iàntaeì s"t st ,lra", nesptieci nly'sr icteiscmhn"iq ouveesr manifestation of greater intensity or larger scale, and there is a turning and.its. "enaerine"ãì "everydav phenomena. .;-*ffä;:: ä:31Ë- apo qinuti e(tEeirs epnrsotteeisnt tteor mas m ito are " caanegsruy¡ aa")n, dw vhieonle nthte calacstiohn: 'T.lehea pips porovea/c, nf¡ionmg ca¡t''with "Dionysian ryricism."lisenstein focuses his attention on the execution under a tarpaurin of resisting sailors ',reaps ou"'t', ioto th" shipboard mutiny; the mourning for thã maftyred sailor vakulinchuk "leaps over" into an angry demonstration; thé peaceful f¡aternization between ship ar'd shore turns sudd.enly into a massacre with the scream ooEffi s atehwneos mtoeadinne sdasenardi v stethedep asan.p pFiemraoprmao.nr ttcahene ot pfp oar iirnnactnsikp o loeff: tfrirain¡sgi ttisoanri sat tn tohoepse" *c,arers"u,oraps otw soe_es hifo ttsh eto s ecploasrea_toupr sw oilfl fwacoersk., ots of spinning disks and the feed And Ít is also iemarkable rhat the jump at each point - is not simply a sudden l,,l the more frequently at various jump to anothe¡ mood, to anotàer rh¡hm, to anotr¡e¡ event, but eaci -ti:ne it is a use gradually brighter lighting, transition to a dis¡rnct opposite. Not contastive, but opposite, for each time it ion,' gradually become da¡ker. Ai s occurs more often, the disks spin Introduction xü Infoductiou faster and faster. A drop xlu Finally ttt. àiåi ru¡r, begins to swell. - Eisenstein descriles the a sta_rlike spmy. ,ff ;"ili:;i;"H;:ny:::1,?jf *öi'*.l ?:;'"ï,'fr ?,å*effectsby inOto*r -t1he1 , pfa¡oil.m the body separator, a jer Tw"o; ;o;fî ;th e #m#os#t iin"åùsÏu:'i"n ã"-',-iä:]ältn ::Pr^t inex ptrho edin s into e a ch oth er NonindifferentNatu¡e concern tlre art of El G pathos section of ecaasrelysv, aEriisaennt steiyn irelelsdcr ibes -"ai""--n-"-vJli' t¡" to variant. He explores lorrns; a sequence movements in a¡t sho preceding featu¡es o *e; impressionism and of realism,s objects. they themselves are as. This ecstacy, which esi), is akin to the state overflowing into each e construction elements Eisenstein, witrr rr g of emotional seizure." ocperience ur á-ì"t ineering and his early meaning of a¡chite ;essed by the symboliã Banleship potem*n utilizes so brilliantly in composition to cine' m 3 compares a¡chitectural embodied itr rtorr", ;othic churches ecstacy 'the image or aú reign of Tsar Nicholas - fieurativerhetoricãrits ;iï,,'å"i:r;i,",::::: si,s work is reflected in ot only in stuctural but also in the poetic The inspiration of Terrible, whe¡e u designs for lvan the deeper into ùte di Hiisse ob daccsraeuwdp iseo nda ntbhayer o cegrofiefsesec -tua pols_fosth oteof pt;ea;lrert;ss;c ;ootfpr ihgae aotidf oso.nr Aer "nt h oinf scrence: nucrear chain-reactio" upon accererations,,in ooù-"-t'o-;. and multistage rockets, in accompanies each succeãsive stage. , Eisenstr ' a¡ti cre i",r,"-ã'i",ä;:T, ff gäå j:J,jï1,1î: ..^:_)^9:sol,s preference for the u""tãtiã"cott i. i, örsenstein, for the other fourms", .oii,.äui.r u*.ì _of forms ther, is ?ii,iii Introduction xlv InEoduction tpherrAoiou ddg ehocofa usdote vp ileaottt eefirml,m kin'isn -truhevetu rmfi L lm"to. p rCr-uh"ar*ipi"Jaîuy er vn (a7r9ra3t4iv)e, ,w thheic pha dråaotess e mfrobmod itehde ddoenirseei gcatnlny om othoveteirfr)s ,p iirnnev tmihoauesn p ypr acycurtarictmue¡i edossf., yMinuo crtaehotear rnse pr;,i ;rnia*ol; t eresp Eettihsiteaiontn sb teouifn 'tf,e ptahyteu'ar¡eem sai drines eoacurcleloTmv:,pagliLtseh::eedd " mb*ay* iimn- -ep-a'rnuos1 toÍ?f an r,tãn,o "d",o."oe"si, :on"ffrol ojtth:m .peo u prsl"rîuhoip ïtr f.oa firn:rwfrdf"a i-trîihdãïe :.a :ãh,r ,jeelcrîano:au î i,pso"" ry,n Ï"tohu;wie, words. If Eise a leap_ into the poetic, the Vasiliev ccomplish a leap from poetic expecta_ Mcoonnstiastgse 'o cCfo tno,we(uro nenrktxae tleãml'n nodo eftiJ ndN e osu stn.uui dnbuydje iNf"cfrteãr rrowãer n n-,t¡i ¿äÇN,rcarsi¿.t9 u o.rf g IL taa ncidstus catahilpyee w carunitldmte tinhn eai ntFio a7nteg 4oo5ff, mr n_tase,, and potyphonic ":åfr:""ï'" lg3g_Ð .Iskussryo Krno during Eisenstein as Iåe F¡?m Sense.l superposition and integr indicate the process of landscape *a miqo-an-o^À^^ ¡ctural levels of cinema: material in an ecstatic work of art. coror.rn*t""'";";Ï"T"à,."i". -",.i;"i:::ä,rr","H:i"f, î":.i_:31ïå:"",î? these tevets should ¡eflect ür" d.;;;;:; ome object tlat prod.uces in him govems all the choices in all the partËpaotfi na gu n.,ilfinieeds ,,t:heme, one which cy, in itself, is objectless and juxtaposition ally. Howeveç the aftist recon_ ]lihfee a¡d fo¡bes inotfo r lteàsee ùpgah:ttia ,l tãdei-taäil"s "irn¿ a pardcipated and whicb u nás togetr,;ñi; that genera_Ìized a¡tistic_i¡r"ge *h"ì"jiìnî experiences ràe theme. çrne-rilm s""à'p. ì"r."l.,or, Eisenstein's work with prokofiev, with the ciaematographers Moskvin, and with tr" .".o."-ü' i;;; le Teniblewas-to Tisse and acpanro¡dnc eethrsase , a mfnogurl seti,sc''ea t lha esr ccchoo^rseilt1 uacmLtoli n1ngi"l,u" rtoheefa ti nni"nt-o "naãaiì,o.iothrnre , "afgnrad"m giensgt,u rteh"e oelirgmînhbutoi ndagyc, to ttrrhisse, integration had to tat eFce";;""ivï.r""nta'y const¡uction whe¡ein shot to shot) but also vertically: (in co'isions from Through the progressi.."jlg: u.eniT|Iine, pervading üre enüre orchest¡a, and åT:iiîïL:îi?ål"ikï"*-..*l'ä,ioïl,".,,i""¡_o.,",o",,i_ãithewhore vnieswuwa hpl easnnc oiwrse e,a w'tsuerar nffifn df'r .oo ifmt vn iteshucieassl ssr ma. r.a y-. gwtoeh aeodrfe dt hrare ,n "oei rwïcr h-perasif"ttr iat"oãr tsäìec o fr¡efn ist tou# mthîeaänt t"oafrl Itph aerrn tas.o:u ,dt,hnioins- * S. Eiseñstein, The Eiln Sease; J. Leyd.a, ed.. and ùans., Faber & Faber, London, r9s3. I¡rtroduction xvi InEoduction xvii hpiasitnoürinagnss iwnh momus Eiciaste ntesrtmeisn, qi;u;o-t,ehs" "consistently discuss these scroll èr"m",,t-"u.""ãäi,,"au"ã"y-*;-ù;t"lJt:"i"ffi ï::*"lr:::":11 ffi ,i:rîï!:",: throus h "ñ;;;ariation ; o,,i; öi',", u,,.", o,, The comprem""i:1-prilcipres (inE icsheinnsetseein ì 'acaitdessc'a f-pãers * a"sr "tnpeiy" ,¿1o" iänoå fa rs n,e ugmmbeenrta ltfi odnis apnadra tceo ncutinltuu¡itayl ffiogrumres ftaounriormoth re'arr* pawolerri ytiipnnthgeog).nr aiEctre.esdmt eienantmots 'u-i Fh""'om'a" r;"**ì",; ot"iil-,c swrp hiorl¿ien "ptrah""iensitr i n.oîgípr p"a"oånsdïict. ihoGnarsein et;ko t ,ho,oenxye- these properties but rkainisdess otrrr e"mun tãosìrl-r eãã"¡'eàaiEftfei"ssre"t rn,cs.o teminp,r enxoiryt oinn rtye remmsb oofd tiehse :åTffJ#.X'f"rent s ieniryin s system s rh at In all of tlese art forrrs, Eisenstein contends, it is the human cal terms, painting), voices of n¿urators an ology), or ::'"i"*"åihî:":|ff ii"ilTï:i:ï#:"îitffi ff iiå;","',i,,ii Eisenstein's s<cursions into anthropologicar theory are quite fascina_ iJ; g) an ldulrT."andmysteryii.iÈ,i,:riï,1;ir""î'itJJirivesretainrhequest tohre orirdedtirceia snt uRcotularen da sg "wt ett"' "( s-*oãm;edw'ähìå"to-la te,rru, .t-h"e t hFere ndcrihv es trruoc taunrsawliesrt hemteneuüc he inclinatio tein locates *ii"lå:i: #:iåff ;""::'f";ïo'låJ*o p,ot comprications or -yle^a.m-*ijn}st" gio otife t hrniso ttso,n ågi:n .g9 o hf aevaec hs ekenno, t, t*o bdee"i,ilï,:ri;.îä:ï¡iå:: "" oJÏt all the same, wherh"r i o""*, ; il graphic knots of Leona¡do and o"lT"T" frequencies of vibrations of vowels that wind into the phonetic knots of equoar tliyn pthues hpkeirnip, eteias ofctroren arraraang.eãmáe-ndt ;o; fthe_sequence ofscenes thar atract |oseph weuesl InhoductioD x\,ltu Inuoduction xD( tTherTrorhuibeglsehe, tdahereev eitnthoteep gimnrgae tttehhdoe d fismlo tawhga eot foEisenstein himself emproyed in Ivan the csorumsehwedhe erere dseeeepm sw tioth cino wheimr bsel the lighting and camera angles affirmation arises _ at the sce image (the "landscape,'in tlre b moods and drives is rendered wfstTiierooestnrrutra ipbhr l eiass nttaoadstr eiwrc haoietrf h t h tshnitraeodg tee(sa,da nti_rth.idn e Ecgreui;s lemwthnaiesns tae stteihinnce og-il n)s dshetoaeogdeti nsoger erosirf - h loi-sno gw"-isouhriok"l täso,rn rf .r.iIorvrmas¿ ottnhnee" cmsmsatheoutoainlntfttia avfblgroqroeueicm.ea e)kT d,s ah tbehsdo oeosv uwhegnna rda trhtp plrta hrectai acmcr mekloive nveareeaalsml l saoecofn ntthse eP þut nc (Eis thererribte)istherehi,,."?"i?,li""lï.:J"?lrtt*'Liå*i:.rXË jî:: j e"acxnocdlel isessixoivcnee" s ssthehose'u" lEd isbeen statekienn's hdeisrae vwowitha aå t ghriasi nw oofr ks aorft ;t hbee c1agu2s0es t rares valorization of formalism had Eisenstein might be seen as po himself somewhat from this ,Torma in 19-45 that many of rhe devices in Batrleså ip potemkin courd be ffi:J"*ra urrimatery constitute an antithesis that develops along rwo described. as the "exposed nerye" of montage, whereas the "ha¡bor mist sequence" represents "a fused sftucture of contapuntat curients,, trrat The line of death anticipates the potyphonic montage of. Ivan tJ,e Tenibte. Anastasia, passe But Eisenstein does not want to completery d.isavow the shock tactics theme of pimen's of hÍs early "montage of atractions,,; ràther, he now sees those diverse _ is taken up by the Basmanovs (father old man,s speech passes into the fiery tively how what was done in this di servants in the rear fi¡es of the torches. f the tsar, and ends with the flight oi from what had been done in potemkin.,,Thus, what Eisenstein in the c1a9l2ls0 sa t e"srmysetde mcoatlliics iuonnisty o of fo dpipvoesrseed ceolemmpeonntesn ttos .,f,o nTnh ea.tbtaascitcio pnrsin, chipe rneo owf say pshteymsisc aol f mopapnoifseistetas_. an integrative montage structute, a synthesis of diverse ,."oloãprrrrt.t,, ibe these oppositions stimuri, remains the same. Fisenstein simpry expaads and refomrurates hpio¡.liidtiecaasll ys od iassr etop uptuat bsloem'Teo rdmisatalniscte,, between his theories of l94s and his past. The centerpiece of Eisenstein's discussion of polyphonic montage is ; in potenkm a¡d fva¡ the Terrible. e death of his beloved Anastasia. hrosinia Staritskaya, but Ivan does oasnsdi,b alyt tah icso nscdeenme,nsa ntiaodni rf,r ovmirt uGaoldly. aoraf nscheo ttos thoef vgieriweevri,nsg p efarcceepsti oonv.e,,r not only a note of grief but also a Introduction Introduction dtsheigiasnt h s.oufi tseo cisia ar pcroarsrsra aitn odf othf eo tuhneirv eev.searyiidÇa'oy tr itfhee o g<rpieerf ieonvceer sV. aTkhueli necffheuckt ,osf theC chrait¡iaccistemri sttfircaat llnyä, sEoisemnsetetiinmes the validity: oorfi aalfifzeec tsit sli noewanr rmh¡ohnmtlgice mone nthtes oatnhder ,h hise paosssetannsa aly msisu ocf hth sses tvoenrsy teoxop fearri-; same time integmting impact on tìe dãvetopment of the crnema as an afi ,orroTo indetibre e in fya¡ theTerrible, Eisenstein also University of Michigan, Ann Arbor H. E. who in the 1920s compared the ,.tu ftarucortnmo rf 'rstoh maeb voruanperi to cugosem spvflairscreut sav,e l srasuend ddto ea ntuh eds ihanielf txsrti .n iAnecs cv e(ocnchtasal n wignietthos innian et iauocgih h ostr h toomnt uac_sorimcity)e;, these accents, in Eisenstein's view, are most effective when the visual accent counterpoints the- musicar accent, so that the pattern proaucea is laenvaeLlo sghoousu ltdo nthoat t coofi nbcriidckel awyiitntlg-t i(rwe hìere tire ¡unctures of the bricks at one akin to enjambement in poetry, w of organization do not coincide, tensions of the verse fonrr. In fi s enuin e rv emorion al land s cape *" *Tå iÏ;" #r$:"-.ï3"f tinetmerppeernaemtreanttio"' n soufc nha ta. u rteo taanl du mniatyn wofit ha aralrn tdhsec oavpeer fwloiwthin gth vea srioeutyl oo"ff r hi"tissî creator is achieved in works sr¡ch as EI Greco's storm ovet Toredo. In the "Epilogue" to NonindifferentN;tuæ, thhieso oriwesn hreo rper einse tnhteed d einv ethloãp mvoelunmt oef: so;àt cEiniseemnsat eiinn sthoeu grhigt htot joufs tthifey ffi:r""äJ""ngs conrained a whole series of books under tìe general title wmheInic tahsl s' ionb erfosooirdmke .so nt hmeyir fiilmmms eadsi abteei nagim "ds,i d.ahc;tyic"' toc oan ctaeirnta rines "e,aft¡ecnhte; st haant dis o, ctrproesrie- These researches and experiments a¡e made so tl¡at - iD another interpretation banyd a flrlo omf uasn owrhoerrk iinngd iovnid uthael cproeinatt ioonfv oief wn m- sth einy cgoeunledr abl.e used late. cãilectioely