Böcker av Sergei Eisenstein

Entre 1946 e 1948, Sergei Eisenstein (1898-1948) tomou notas sucessivas sobre uma história particular do cinema para fins pedagógicos. Para o cineasta e teórico, que havia reformulado constantemente sua reflexão do cinema e das artes ao longo de três intensas décadas, o cinema constituía-se como síntese maior das artes e, sua história exigia uma démarche múltipla para a compreensão dos fenômenos artísticos e sociais que se apresentavam nos filmes. No momento da escrita dessas "notas", sua reflexão teórica - até então ligada a sua produção prática (a defesa dos próprios filmes, manifestos, polêmicas com outros membros da vanguarda, projetos singulares como Glass House e Das Kapital) - se volta para a busca de um "método histórico" que ultrapassa as "escolas", os "programas" e as "tendências" que alimentaram a fase áurea da Revolução. Nessas "notas", fragmentárias por excelência, o que aparece é uma nova faceta de Eisenstein, que se transforma em historiador para pensar o cinema a partir da formulação de um método histórico. Aqui o cinema aparece como objeto de conhecimento a ser construído e não como objeto empírico a ser descrito, o que nem sempre é compreendido nos estudos recentes, muito preocupados com a descrição em si cuja ilusão historicista pretende recuperar o passado em seus detalhes. Em Eisenstein a história não busca uma interpretação factual, azougue editorial mas a síntese original. Uma história "total" e não uma história "geral" de cunho panegírico. A operação historiográfica apresentada por ele trata de forma ampla a evolução do médium cinema, das origens até seu advento e desenvolvimento. A lanterna mágica, os brinquedos ópticos, a fotografia, etc., todos tem seu lugar nessa história do cinema, ao lado do chamado "pré-cinema", da pintura, da arquitetura, da escultura, do vitral, da gravura, da tipografia, dos espetáculos em geral (sombras chinesas, teatro, music-hall, prestidigitação, museu de cera). A atualidade dessa forma de ver o cinema em relação está na maneira como os estudos atuais têm se servido desse tipo de investigação integradora. Como não poderia deixar de ser, o artista Eisenstein desenvolve para sua história do cinema não a lógica da autonomia, da especificidade, pelo contrário, prima pela história comparada. A morte prematura do artista impediu o desenvolvimento de tal projeto, deixando-o inacabado, mas seus fragmentos ainda nos são contemporâneos.

From Sergei Eisenstein, a legendary pioneer in filmmaking and director of Battleship Potemkin, Film Form collects twelve essays written between 1928 and 1945 that demonstrate key points in the development of his film theory and in particular his analysis of the sound-film medium."By turns savagely polemical and whimsically humorous...Eisenstein's last book, like all his writings, is on fire with imagination...Jay Leyda, well-known authority on Eisenstein's work, has done an excellently thorough job of editing and translating."?Saturday Review

Few figures in cinema history are as towering as Russian filmmaker and theorist Sergei Mikhailovitch Eisenstein (1898-1948). Not only did Eisenstein direct some of the most important and lasting works of the silent era, including Strike, October, and Battleship Potemkin, as well as, in the sound era, the historical epics Alexander Nevsky and Ivan the Terrible--he also was a theorist whose insights into the workings of film were so powerful that they remain influential for both filmmakers and scholars today. ?Seagull Books is embarking on a series of translations of key works by Eisenstein into English. A fascinating memoir in two volumes, Beyond the Stars--first published by Seagull in 1995 and now available again. Begun as Eisenstein approached fifty, it is full of the famous names of his era, including Charlie Chaplin, Mary Pickford, John Dos Passos, Jean Cocteau, and many more; at the same time, it is a serious book of inquiry about film as a medium, offering countless reflections by Eisenstein on his own work and that of other movie pioneers.

Few figures in cinema history are as towering as Russian filmmaker and theorist Sergei Mikhailovitch Eisenstein (1898-1948). Not only did Eisenstein direct some of the most important and lasting works of the silent era, including Strike, October, and Battleship Potemkin, as well as, in the sound era, the historical epics Alexander Nevsky and Ivan the Terrible--he also was a theorist whose insights into the workings of film were so powerful that they remain influential for both filmmakers and scholars today. ​Seagull Books is embarking on a series of translations of key works by Eisenstein into English. On the Detective Story presents Eisenstein's elaborate study, in four essays and fragments, of the use of dialectical thinking in the creation of art and literature. Drawing on major works from Shakespeare, Tolstoy, Balzac, Gogol, Mayakovsky, Dostoevsky, and more, and ranging from folk tales to contemporary detective stories, it shows the keenly analytic quality of Eisenstein's mind when it turned to questions of creative work.

Few figures in cinema history are as towering as Russian filmmaker and theorist Sergei Mikhailovitch Eisenstein (1898-1948). Not only did Eisenstein direct some of the most important and lasting works of the silent era, including Strike, October, and Battleship Potemkin, as well as, in the sound era, the historical epics Alexander Nevsky and Ivan the Terrible--he also was a theorist whose insights into the workings of film were so powerful that they remain influential for both filmmakers and scholars today. ​Seagull Books is embarking on a series of translations of key works by Eisenstein into English. The Short-Fiction Scenario presents a master-class on turning a short story into an effective film. Delivered as a series of lectures at the State Institute of Cinematography, it details two parallel scripts drawn from the same story; at each point of difference, Eisenstein explains why one works better.

Few figures in cinema history are as towering as Russian filmmaker and theorist Sergei Mikhailovitch Eisenstein (1898-1948). Not only did Eisenstein direct some of the most important and lasting works of the silent era, including Strike, October, and Battleship Potemkin, as well as, in the sound era, the historical epics Alexander Nevsky and Ivan the Terrible--he also was a theorist whose insights into the workings of film were so powerful that they remain influential for both filmmakers and scholars today. ​Seagull Books is embarking on a series of translations of key works by Eisenstein into English. A fascinating memoir in two volumes, Beyond the Stars--first published by Seagull in 1995 and now available again. Begun as Eisenstein approached fifty, it is full of the famous names of his era, including Charlie Chaplin, Mary Pickford, John Dos Passos, Jean Cocteau, and many more; at the same time, it is a serious book of inquiry about film as a medium, offering countless reflections by Eisenstein on his own work and that of other movie pioneers.

Few figures in cinema history are as towering as Russian filmmaker and theorist Sergei Mikhailovitch Eisenstein (1898-1948). Not only did Eisenstein direct some of the most important and lasting works of the silent era, including Strike, October, and Battleship Potemkin, as well as, in the sound era, the historical epics Alexander Nevsky and Ivan the Terrible--he also was a theorist whose insights into the workings of film were so powerful that they remain influential for both filmmakers and scholars today. Seagull Books is embarking on a series of translations of key works by Eisenstein into English. On Disney, which was begun in 1940 but was never finished, was part of a series of essays Eistenstein wrote on masters of cinema; for Eisenstein, Walt Disney offered a way to think about how such impulses and animism and totemism survived in modern consciousness and art. This edition presents the original, unfinished essay along with material on Disney that Eisenstein worked on in subsequent years but never succeeded in integrating with the original.

Sergei Eisenstein is arguably the most important single figure in the history of movies. He was certainly the most versatile. The director of the masterpieces Battleship Potemkin and Alexander Nevsky, Eisenstein also wrote ground-breaking essays on film art and taught classes on motion picture production. In this book Eisenstein writes about film directing.

Follows on from the 1922-34 writings of Volume 1 and parallels Volume 2's essays on the theory of montage. In the period covered by this volume, Eisenstein's film-making ran into the difficulties generated by the Soviet authorities' increasingly restrictive definition of Socialist Realism.

The name of Sergei Eisenstein (1898-1948) is synonymous with the idea of montage, as exemplified in his silent classics such as "The Battleship Potemkin" (1925) and "October" (1927). This title includes a series of his essays written between 1937 and 1940 which elaborate his ideas on montage.

Book documents from the definitive Russian texts the complex course of Sergei Eisenstein's writings during the revolutionary years in the Soviet Union. It presents Eisenstein the innovative aesthetic thinker, socialist artist and humourist, passionately engaged in the debates over the art forms of the future.