atc NONINDIFFERENT NATURE SERGEI EISENSTEIN Transit by CAMBRIDGE UNIVERSITY PRESSaN ee Les {came Uni Pe 987 Induction by Herbert Faple ‘Notes On the transtation Poor Satie (insted of destin) 1 Oathestructureofthings ‘Organieunityond pathos Pathos ‘The milesopartorand the Holy Gril ‘Twenty fo supporting coins ‘Thallonncldage (Greco) Examples of ecstary] TheGotic (On he question of suprising Theangasoo 111 Oncoagain onthe structure of tings 1 Nontnauterent nature “Themustc of landscape andthe fae of montage coumterpoint Rpllogoe Notes 13 1st 199 38 % 6 216 323 am 7Poor Seliee 2 ‘rThson, my ian 8 grap, but he ro oe rows gran) and thon plunge bealong into spontaneous crest However, neer fora moment do! lose sight of th get imporanoe of thenecosiny, outside of those moments of eeatve inacaion, cf eva Ineressing, pecie knuwledge ebout what we do, ond eapectally me. ‘ishout this naiter the devlepment of our at, nor the education of youth ie posible ‘And epent, never and nowhere has preconcesed algeben stood in ‘my way Evewnere and always, t emanated from the experience of @ {nabed work of srt "Thofre aa wel a6 a dedication tothe tragic memaxy af he soarchor, Sale this volume is srltsneausty dedicated also tthe memory of Morarée spontaneous jalo do vie | GM. Esieaslan Pm sates of thing {et us assume wo ato to prcont geet en th screen. Tete is no such ‘hing 26 iat ia general” Graft concot ehetatic chat vehicle ‘when ehsmacter is grieving, t hae a consumer when sew te resented, so that the vawer go gtere. “The laordocat have tobe always present in the depiction of get ‘The enemy's grit afer suring leat evokes Joy in the viewer, ht entific himoell with te ito. “Tas deas are chalaishy obvious, bat n them re contained the most ‘compler problems oft stuere ox ar fart fx they tach 08 the ‘most ial aepect of our work te problem of representation and the {alatonahip fo what fo being wepresented ‘Camposian is ona ofthe mest fovea means of expressing this relationship, although ths rlatianip is not only achieed through npanticn and it nt the only fase ot compotion Ta thisardee Til be eancaad with the aperal question ot how the ‘ombociment of tle vlatianenip ie acioved specifically by sarow cont Positional means. The ostonship to whats reprerantoa ie sehioned by {ho manner whieh Ws representation i proven And Sealy the question arises eonceraing the asthods and mene with which ane ‘mast eat the ropreonttion so tht there se relationship between What I ehows, how tho author rasta to #, ne how th author wads the ‘viewer to perl esh ant renee what soprosonting, “ot us tce this phenomenon from the pit of view of composition that ig Tet us look ata case when the task of embodying th authors studs ts served fist by compositon, understood 2 the hw of ‘Suturing what i being ropovented, Ths exept porta fr Us, for vary litle has been writen onthe tle of composton in ly an those features a composition that Ie in mind eve have almost rover bows mentioned in Meatue a a “The abject of epresntation and the law of srucncng by which ts presented may combeido. The eth simplest care, and abe fan toce ot less cope with & compositional problam ais type Tia earringere) eet ec) For some tis Thavs ponder to whom {should dedicate my fst book For favored gis ita Bubinowalin, My students regardless, wil use Its tenbook iy rend wens, wil supportme. emis wil stack it anys ‘Rois Kalways dedicate all of ray endeavors to tho working ests. ant generations dost nood i Future generations will go Trier Sor fam Inf with one person, in amore manwoey I would Le 10 doaieae thi Week, Sale i askin’ poor Sales i Fs dseected msi ike a compe, ! ‘Bod in tis ay somthing rally arb. he 8 corp cone tos sto, to be terminated, without ovement and without tie Tul because there was a ot no cinematography, because the ne at nad ot come its existence tat woula have made it poesble, without {aig forking se sound, or dooming tobe afaess corpse. to {ane ftp and tudy, under yee conditions and Bfozrtan foe de Se, not oniy fis algebra nd geomouy, but also its calculus and ferent, without which, om te level of enematogrphy, art cannot tert fa. ‘Such the fiat reason why Tam not sa of dadiesting my book o Salle "Tho second is inthe fac thet no matter now caustic she reo of ny opponents, when Terese, I ing the “crutzes” of confomty to the ‘evi tor used by Lessig: snd ell to mlnd the words of Goethe "Gre it dio theons.."* 1 Prot pri of Sera sent 390,1. On the rtruetarefthingt : of the simples: ype “geevous gee” Jory “a marching mach” fhe in other wore Te ero geleves and ature lighting, omens the position ote fame, leas oten th than f montage soa moet Sith must pasted oto iy grave with hm uninon The same hing (oem when we aze dealing st oa oy,” ote ‘Sven i those simplest ees iris erremolyceae what tbe source compouiin is and where gets is sxpeience and material fo. Tht ‘Stupostion takes stucsurlsloments ofthe represented phenomeno3 td fom than toate he Tn of the stactare of tings. “hn addition, it mainly tke hens elements frm the sracare of 2 ‘emotional bovine ofthe human bebyg in vlation fo the expel ct the content ot one ore cher phenomenon represent itis jot for this roagen that genuine compocion ts umm, ecply amas whether hsb he “bouncing” asthm ofthe stractre ct ‘hearst episodes, eke "monatonoasiy eran: out guy” ote etna Gtarsnd Soene of te “gltering wit of” gating resolution of «shot Diuerot deduces the cmpoiicna prinfple of woes) ase, and tater intramestal snusle tom the bazor of ionaton of ling eee tional mamas speach (ofthe sme tae eso fem madial phenomena pateavod by him in suounding nate) "hn Bech ~ saeco the mest complex compositional passages ia susie — aflame a ery slmilar human approne to to bases of con Dosti, ae a diect podagogle preroquinte: (neon cntng at Hom ais pi, am ok TEsuent composting av comrceon beta hess perso, wht ‘sto pa i th ene wl a i ta Wy (Om ray the sue Daal of the mua! play of human emotions, an tho bane of human expertenos, cinematography bulls ts stacture [passages aid most complix composional structures. ‘totus tke ean ample one of the most succzsful scenes Ja “Aleaader Neely the episode ofthe atack ofthe German "wed ‘the Russian militia at tae Beginning ofthe “Bate on the ee” ‘a ae muaness ofan experienoe of eowing tor are heard tn ts episode, when in he face of mminent Sanger ons heart contracts ad de holds ae’ bret “The stucrue. of the “galloping wedge" in Alorander Nevsly procnalp“copog” fom a vasaton within he proces of thls experienc “Tis (swat dictated ino ryt of geowel, casi, the ineearen tempo, and the rrdation ofthe passage On thosructare oftngs 5 “The lntense throbbing of an exit heart diciatod the dtm of the silloping hooves ‘telly deplete ~ thi he jump of he ying Highs Composter ~ hee tense ea of We eed Near nme successful proauction, both o them ~ the rpresenatona and tne canpastinal system ~ merged bore In an anbroken ualy of & ‘hretening image tbo tesinning af «bate not for, bat fr Goat, ‘And ths event unfolded an the ston "acconding to the graph” of he ‘ow ofthis or tat passion and, by this "grep" coming Back ftom the ‘Seren, involved the emotions ofthe vower, raising them to at same tangle of peesons that detenmined tbe compositional schowe of the swank “This ts where the crt of the genuinely emotional eect of toe composition les Using as is souree the stractre of human eon, Snmisiakaby also appeals to tas emotions, upistkably evokes the ‘omples af ove emotions that engendered ft Ti al aspost of act and in fat more than anywhere else it exactly in hie annie pd malale i thie way thet whet Lev Tolstoy ‘wrote about musics achevec: "lt musi, smvecatly, dire tans [ores me into tt spirual mae in wie the ane who wrote the music found himels= This ftom the simplest netencer othe mest complex an fhe possi typeof the stractve of things "ur thee also another case when an aor, instead of resottion ct tho type “orf on” must solve, for sample, the the of te Sizing death How can thst be done hero? Wi gute sous that in auch cases tho In ofthe stuctae of tinge ts na langer provided exclusee by elements directv towing out of Datura and common emutlons sales and fesings of a person that Accompany the given paeaomenen ‘weve, the lew of compton oil vonine the came in the given ‘Bp search for the putnary came ofthe system ot compesttion ve not so much i the emotions accompanying the objet represen {ed ar Inia in the erosional tlatcnnhip vo the object roprosestod ) ‘but tis cate Je quite sam and aot obligetoy Sn genoa Usually In uth cane a vary eavdoue and chen wnexpacted pletre vies of the {Capsenission ofthe phenomenon bya structure nota el common under SESE sr oe 2 hh in We Da1. Onthe structure otminge ‘ “normat” creamstances. itera is evetowang with examplos of this Tere ths tnuthod pues alao im euch primary elements of compo sions wettnent a tbe srarre of isc images resoations pose through a atom of sneloges ‘And rm te poges of Ieratare we have mages of Gut unexpected compositional sticrros in which phosomeaa are presented thas ‘hemetve” ace completely normal In adaion, tae trace ar mt fefines, nourished or ealed to fe hp formaiode exaggerations 3 fstravagant researches, "The examples | ave nd relate to We else cassis; they ae classics because bby exactly thse peas tet the caares odgmant faeomimng the phanotoaan, tbe cloarest relationship to the Pharo- ‘hones, wes ombodind in thom with extreme cary ‘How many nes in itera fo we come actors a dascrpion of te adultese" By what warty of sivaton, poston, aad. Mguave comparisons ae they adorned ~ there ew hardly move impress Dione than those ‘whore tho “criminal embracea ofthe loro Shen ao gy, so euch bam, on manne for hero mule ‘elias obelarieny Suede hid ro oeiathe world sew eet moo ‘ha re her roger fr fogeness was arsed to. Laokg a Fit oer hanno plyseiy aed ould soy noming tot, He fl wi ‘Sosrr sn fan wan looking abe bc bas epee en The bs bo od epee af ie was tr ove he thot ero ot fet Lv, Tere Was ihe tlt pts cme These she st her pea kent Srvc, at be nat be at in ples sd en ay an be an hs he ms ep vein hes, oss eh Sof yn tae! Ys tn at ic sre we, Inthis exer fom Anne Karenina (pert 2, Chap. XD, ta the fguatte sytem of ste comparisons, tbe whole sano fo tally reooHod Rh ‘agnfcontemwty fom te very depths of th author's eatonship to the phenomenon, mer than from the feelings and eMtions of ts Darpant [as for ekemph, thls vey suibe theme in Numerois On iheserucursof things 2 vaclations tad oem resolved By Zola fa the course of his Rongon ‘Macquart (1871-99) “Toletoy stached an epitaph 1 his novel "Vengeance is mine; [wel repay, saith th Lae.” 'M. Sakon ina eter to Versave of March 23, 1907 tes Tlsioys| words onthe signfeance of this epigraphy which had exced Veresoye: jun nt tee ira ena hte {nthe second partof dae nove, foun where this acest eben taken, ‘Tolstoy tad te ask of showing “be el that ma commas "The writer temperament frees one fl informs ofthe highest stage af eel as cane "The morali'strsperamont fora one to eases the wil act of the ighastdagre of crme against person as ~ murder Finally, the arts’ tamperament forces an evaluation ofthe charac ‘wis behlor fo come tough, Helped alle means of pees ‘salable him “Tho tne mundo, having become the Basi expressive reltenship of the author co the phenomenon ~ becomes af Ue same tne the ‘Geerinant ofS base loments ofthe compositional teatment ofthe 1 dicts the images and analogies: "hax a murderer must cl ‘wien leoking st te Bod hp baa Soprived of I. Tho body ho had Ueprond of it weet lowe. eso, Ticats a5 well tbe tages ofthe characters! acsons, prescribing tne embodiment of tie acuons,chartcaristie offre, in fore charac. ‘eis of murder. "Th, asthe mardoreedaopuratly throws himeal on tho bed, a8 shosgh wth passion, and erage hand Backs 23 Vronsy covered hor fee and shoulders with Msoes" ete These exvomely procion "sage dnecous” defining the nuance of ‘ohio, se chosen rom thousands of posable one, ust boca they ‘hte only ones that eoreopond i his patesian cae, moe aly 60 the author's relatinahip to te phenorseatn Se "he dea of el being expressed compostinnaly through the inage of crane ~ of murder, by which the elvan scene has Deen resoved ~ 1s ‘boountered in other works of Tolstoy se well This image i «Favorite ne of He, and cle to ime "Not oly th "adalterr” bur also “animal elation” under conditions of sovmronariage eelasonshipa is uit an the sme Mgurative Sse1. Onthestrucrureottminas z e 1a me “Kreuter Sonata” we meet the sae thing. To excerpts ean ouinyshev story wil give 9 clear idea of tis. The second one (bout hidren) brosdene the amewore ofthe esampls rating orem great Shrprises by lt cuter compositions sratarng, whieh, however, elt (hulp fom ts nner relatonabip to te heme 2 atm itd is a at ating a hen Sepeptinerne Ferg tie ed nen Fn tebe el yeh is teeth ae "dS be ing chon pied a tnd fpr ramon ey appease the ler thy se, oe owe they were a mes Sed’ objet deri: They were 0 out an lc anes oy ‘fee woapr of sagen el We fuga exer wi or chen. Exh [Shoe bathe avons en and area a weapou a tse Were usally ‘Sonata agean our eset boy any ber, ogunat Lien. hy, orn ee Onn fet hike we wo As wohave seen no mater what example we might tke, the method of comporitonretaaie away the same inl cess its basi determinant ‘omunofprinaily the author eetionship Ina ates the OLD ot Composhion resins the action of man snd the structure of Buran ‘Ts docsis elements ofthe compositional rractare ao taken by the ues ftom the bases st hi lation to tv phenomenon. Fe diane he Sirscture and eharacee by which the actalrepesentarion is untold ‘Theroprostation losing nothing In retin emerges om ce wits Jnueububle enriched sigaiicance and ometion Tris possible to being in one mon exampaIe crows Beene fn the Galinotion of she two Characters represented ot ON Ar Scrat and fstaes coast to tao ones usually and wt ‘characte of tem, but by means of constuction, an eachange of ‘Stuctres fs eqnsesously prodaced! “Tanse characters ares Geran ole and a French prostate The strcture of te iage ot the “noble fie” Is assigned to he “Ie structure of the image of te protein ts most unatwacére nme structareofthings 8 resolution Is te skelito ofthe tenaoent ofthe Germs ole "Ths cripinel chasse crofee* wae done by Maupascaat In the well noon sry “Mademaisolle FL” The stractove ofthe mage of the Frenchwoman is woven ou of al the cnaracerees of nobly connected with the bourgeois presentation of snoffcer Candi is quite naarl that by the very same mathe the Gorman office ss roveled i his sasence~ 18 he prostttstizo notre 7 rom this “nate” lsupassant tooe ony one fearuré—her destrc tiveness tor me-moral foundations” of ougeols socket This is Interesting sine Grom this aspect Maupassant ook srliarscteme 38 oming road-mads, well nov, cba res nour ind, His German ‘cer i cot according tothe image created by Zola ‘Nant not ae a whole, but Nena in hat pat of the novel where Zola raises thi inte to gront dosti power for repectable fro and [Eithe samen decttbes Saas destructive capri utien she ence the tana porcelain presented to her Dy her nes. Te generalized presentation ofthe detiriciv gasliy of te courtesan for fami aod Foesotay is this scene ial made concrete’ inte paula episode twih the Bondorniee ef San china and he pile of thar value ita, Wii eco to seve se a eyimbol of high wclny” masking raat Dy Nanas whims ‘The stuctre of he ofier’s behavior i completly identical to the structure of Naas’s beaor inthis scene. The name "Nana" nd the fickaame “Pi” emphasize this unmistatable connocion. Ths I not (ontadicted by the fact that French diminarires of ames are groerally Josephine -"Fifina” Rober ~"Beber” Instead this ony emphasizes Our suppasion Burin ts novela axa whole we neve goo model ot how common, very dapiten ir composttnall rewerked in necessary ave ‘hat cain consponds to the socal skaion "iste we are concerned with caer hate Gul obvious, apparent, and easy to interpret However those very samme panepes ein the Alovpost elements of compositional sractar, im hore depts roeched only by the saint of very pecan and profound eras nd t timeout thot overrhere the Basis (shat vary same Se SHES cot eae errs wound SSSR arene’) cee See oe1. Ondhestractae of things a 0 -numanenees human psychology, nourishing the most complex comps tional elements of om, in exsey the same Way nourishes and dames {he coatent ofthe mack for lial 1 ula ike wo lastest these pstion in two quit complicated and, fe vould eoom, formally gute abetroct cramplee tbat apply 1 che ‘compestion of Batloship Potemin Farthe temeaf he structure of things an composition nthe widest sense of me word, doy will seve as examples and confmaton of wat ‘os stato bore Trom the point of ew 9 Poteau thy Wil eee Tosearsh mater forthe Bo esi “When Potemkin 1s discussed, usually to offs fanures are obseied: the argent unity af ts eomposion as a whole and the pathos” ofthe Sim roanic unity ana pathos leur eon ting nt of etninan 0 {acon by wht anne hey were alee, spc toe oe fons Thetis fue wl be xunned fn somporson oh fs [Ee whole The second wil be canine in tie “odes Stee" eps, ther pots achiaves the greet Gramate tion. Lat, wo emule his fo he enti ln as wel, ‘Gur anata wil be cones its how he organic unity and patios ths theme wate ose) by tious 9 the composition fant othe aime way one Su aie tow tere sn hme were esved fiber siemou amor example by the acoe persian, by tt tcentnont of heme, byte elo range ofthe by seo nndacape by ‘eatnnt of mane acto, te THoweverwo wi cote ours rane pala problem the pobiom ofthe sracrre of tgs; making no preset ong Single ofl epee the in "However, sam crane work of thatthe lames ontbuing tp tho wort ae ole permost every fare comparing this wort A ‘Sagi nom pervades tony the whole ad each Ot parts ot iso ‘ech lemon hati ale to parpatein hereon abe whol. One ‘Sita seme prince wil noah evry pay appasg near of ah STi tnt ows opi ltaiecetinedoe, Aad on in Os case can {ie pea of hn onpaio iy of wont, for haw we understand an ‘Sony Gronks fien scons no Unity Pos, Ofer, 1°, p. Bb {Shot ues te partes thoughout tt be Dk a a ange (Organte unity and pathos u organism as Engels define Sn The Dinlctis of Satu: * an gana of cours, Bg unty “Tes consioravons mmesiatay iad we to te dst there of out amass “to the question of the “organic eat” of the struc of Pott Tetus approach this question by proceeding fom the premloe se forth he begtunlng/ The omni ua of won as well an the sense of Srganie unity reseed fom the work ees wien he lw of the Convention of thle wrk coenponde tothe live ofthe srucute of trgane phenomena ot mtu TT date obrous tat le wo are concrse witha sense of he empocticnal organic uty of he whole, This Teeling cateat be withstood ore by those ioe eo, beesect td chs lepine, ‘hve sharply negative trae ford the topic an teme of ewan, {Buttes ewer for whom metre pcm ome eel organi.” This Is eacly whet appened wih Potrkn in barges suatrtame, Homer les ake owe pers the concept aeanie ‘ily of tho emuctre of nent the one used vould any Bere er two tes of eras ant “The vsti heractertc OF aoy work in peer that poseesee ‘wholenes an an inne law. athe cao degen ny {dein by te fac hat he work 6 eee byw dette ta of svcrreg, sod ll is separate pe le ‘Sordnated to th aw Bade on detion of Garman esthetician, would call spe ot genic uy the orpanie uni ofa peered nto giren tase te Suto obvigus that we hae this prep a cOf of he cra by when ‘tural phonomena ere cowie sh whe which V1 Len a “Tho particular doer moons tea of hoe rlstons Whi ee {he gee Tae geno est ely Inthe pula og the persian Bu the actual law by whieh there natural phesomtene ae stucred sth pon cae dct ssn cote whem (fhe organic unty of works ofthe scond type occurs when not only he inal pencpte of organi unity spine ott the atu canon nw bye tral Phnom sre rastre. Ths could be ale the organ ity af a peru o excopuonal ore ifs ths tht ed ‘area eng, na Tse we haven cb Wher the Work of ar — an areal work ie GREER A Sea iats pee at