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Book Categories |
Note on Transliteration and Translation | ||
Eisenstein: A Soviet Artist | 1 | |
1 | The Montage of Attractions (1923) | 29 |
2 | The Montage of Film Attractions (1924) | 35 |
3 | The Problem of the Materialist Approach to Form (1925) | 53 |
4 | Constanta (Whither The Battleship Potemkin) (1926) | 60 |
5 | Eisenstein on Eisenstein, the Director of Potemkin (1926) | 64 |
6 | Bela Forgets the Scissors (1926) | 67 |
7 | Our October. Beyond the Played and the Non-Played (1928) | 73 |
8 | Statement on Sound (1928): Eisenstein, Pudovkin and Alexandrov | 80 |
9 | Beyond the Shot (1929) | 82 |
10 | The Dramaturgy of Film Form (The Dialectical Approach to Film Form) (1929) | 93 |
11 | The Fourth Dimension in Cinema (1929) | 111 |
12 | 'Eh!' On the Purity of Film Language (1934) | 124 |
13 | The Mistakes of Bezhin Meadow (1937) | 134 |
14 | Alexander Nevsky and the Rout of the Germans (1938) | 140 |
15 | The Problems of the Soviet Historical Film (1940) | 145 |
16 | Stalin, Molotov and Zhdanov on Ivan the Terrible, Part Two (1947) | 160 |
17 | From Lectures on Music and Colour in Ivan the Terrible (1947) | 167 |
Notes | 187 | |
Index | 209 |
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Add The Eisenstein Reader, Sergei Eisenstein, the legendary Soviet director, was a key figure in world cinema history yet he completed only seven films. His unique contribution lies in his constant attempt to combine theory and practice. Drawing on the BFI's widely acclaimed four-v, The Eisenstein Reader to the inventory that you are selling on WonderClubX
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Add The Eisenstein Reader, Sergei Eisenstein, the legendary Soviet director, was a key figure in world cinema history yet he completed only seven films. His unique contribution lies in his constant attempt to combine theory and practice. Drawing on the BFI's widely acclaimed four-v, The Eisenstein Reader to your collection on WonderClub |