: Sergei M. Eisenstein: A Film Editing As Aesthetic Category
ISSN 1409-6900 | UDK 82+7 Blesok no. 08 | volume II | April-May, 1999
Blesok no. 08,
Sergei M. Eisenstein: A Film Editing As Aesthetic Category
Sergei Mikhailovich Eisenstain (1897-Rig, 1948-Moskva), comes from a family with a father-architect and a mother-ballerina. Since his early childhood he shows interest in art and science. He spends the most of his time in his father’s library – one of the largest in USSR in that time. After he abandons the Engineering Institute in Petrograd, he applies and successfully signs on the State Film Institute. In that time he participates in the organizing of so called Agitpoezda, the agitation trains through USSR. After that, Eisenstein begins with the intensive scientific work on the subjects of theatre and film theory. In 1935 he begins his first sound film Bjelinski lug.
The fundamental identity of his life, art and revolution is the deepest essence of his artistic and theoretical appearance. That essence makes the synthesis that determines the direction of his philosophical, ideological and aesthetic horizons of his theories.
The very distinctive characteristics of his, are the subject of interests by many biographers, and every one of them comes up with the different view on his life and work. But in essence, they all incline on a romantic/idealistic understanding of this great individual. Here are just some of them: Mary Seaton, Dominique Fernandez, John Barnam, Victor Shklovski and others. But, the most relevant are his own views for himself and his work that he published in his Memoirs. His idea to write his biography in a form that is typical with the fragmentary essence, came to him in 1942 – when the whole Soviet cinematography is evacuated on Alma-Ata.
His Memoirs has a great deal of a rhetorical aspect, especially in his attitude on his term of film editing and fragment. It’s obvious that he wanted this deed to unite (in a quite sinewy form) a few themes through the narrative character, with the “alloys” of a subtle analyses on the psychology of the art creation: the author and his themes, the true suffering of the creation, etc.
In 1946 he’s very ill, immobile in a Kremlin Hospital, and at the same time overflowed with a great honors – he works on his Memoirs, which will never be finished entirely. According an unpublished letter of Kulieshov, we can find out that the great artist dedicated his last hours of his life – not to his memoirs, but to the numerous theoretical projects on the issues of directing, the method and such. And also,
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