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The Cine-Fist

Eisenstein’s Attractions, Mirror Neurons, and Contemporary Action Cinema

Maria Belodubrovskaya

It has been more than ninety years since Sergei Eisenstein first developed his concept of attractions. Today, this idea is known in two iterations: Eisenstein’s own “montage of attractions,” a method of editing together impactful imagery, and Tom

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On Shock Therapy

Modernist Aesthetics and American Underground Film

William Solomon

see them anew. Shortly thereafter, Sergei Eisenstein articulated the roughly cognate notion of a “montage of attractions” (1923–1924), an emotionally intense approach to theatrical and motion picture production that he initially derived from thrilling

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Andreas Baranowski and Heiko Hecht

attention, respectively ( Pashler 1998 ; Smith 2013 ). Here again we find a position that is congenial with Eisenstein, whose early theory of a “montage of attraction” explains how attention of the spectator is drawn and directed by the film medium. In the