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The Eisenstein-Vygotsky-Luria Collaboration

Triangulation and Third Culture Debates

Julia Vassilieva

cinema industry, on the other, reconfiguring what had traditionally been understood as the distinct domains of science and art. 1 Sergei Eisenstein's collaboration with Alexander Luria and Lev Vygotsky emerged from this context of “proto–third culture

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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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Franz A. Birgel

Characterized by Siegfried Kracauer as "the first and last German film that overtly expressed a Communist viewpoint," Kuhle Wampe (1932) is also noteworthy for being the only film on which Bertolt Brecht collaborated from beginning to end, as well as for its controversial censorship in the tumultuous political context of the late Weimar Republic. When set against the background of the 1920 Motion Picture Law and the censorship of two other high-profile films—Sergei Eisenstein's Battleship Potemkin and Lewis Milestone's All Quiet on the Western Front—the political history of Kuhle Wampe highlights the indecisiveness, fragility, and fears of the German Left as the Nazis prepared to take power.

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Ted Nannicelli

structures – complex patterns that also happen to mark three central pulses of human existence (heartbeat, breathing, walking). Julia Vassilieva's article tracing the collaborations between filmmaker Sergei Eisenstein, cultural psychologist Lev Vygotsky

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Ted Nannicelli

classical film theory in light of recent developments in neuroscience and psychology. First, Maria Belodubrovskaya explores the affinities between Sergei Eisenstein’s concept of “attractions” and the preconscious, automatic responses identified by

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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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Sami Schalk

scripted play brands like American Girl invite certain narratives over others, children are still agents in this interaction, able to revise and challenge the narratives presented to them ( Stumbar and Eisenstein 1999 ; Bernstein 2011 ). American Girl

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Raewyn Connell

workplaces. Union movements began to be more active on equal pay and women's workplace rights. Units and even whole departments of government were created to oversee and promote these reforms. (For this story, see Eisenstein 1996 , Ferree 2012 , and the

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Jeff Smith, Dominic Topp, Jason Gendler, and Francesco Sticchi

to spend Chapter 2 explaining her methodology via an analysis of sound–image relations in a scene from Sergei Eisenstein's Ivan the Terrible, Part I (1944), which was made in collaboration with the composer Sergei Prokofiev. While the jump to 1940s

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Beyond the Individual Body

Spinoza's Radical Enactivism and You Were Never Really Here

Francesco Sticchi

Tikka, for instance, through an extensive reelaboration of Sergei Eisenstein's theses on cinema, addresses films as holistic media environments with which viewers dynamically interact (2008, 94–95). The organic complexity of films also makes it