دانلود کتاب Sergei M. Eisenstein: Notes for a General History of Cinema

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Table of Contents\nAcknowledgements\nEditorial Criteria\nForeword\nCinema as “Dynamic Mummification,” History as Montage: Eisenstein’s Media Archaeology\nPart One. Notes for a General History of Cinema\n1. The Heir\n2. Dynamic Mummification: Notes for a General History of Cinema\n3. Revelation in Storm and Thunder\n4. In Praise of the Cine-chronicle\n5. The Place of Cinema in the General System of the History of the Art\n6. Pioneers and Innovators\nPart Two. Essays\n1. What Renders Daumier’s Art so Cinematic for Eisenstein?\n2. “The Heritage We Renounce”: Eisenstein in Historio-graphy\n3. The Notes for a General History of Cinema and the Dialectic of the Eisensteinian Image\n4. Act Now!, or For an Untimely Eisenstein\n5. Pathos and Praxis (Eisenstein versus Barthes)\n6. Eisenstein’s Absolutely Wonderful, Totally Impossible Project\n7. Dynamic Typicality\n8. Archaeology vs. Paleontology: A Note on Eisenstein’s Notes for a General History of Cinema\n9. Point – Pathos – Totality\n10. Distant Echoes\n11. “Synthesis” of the Arts or “Friendly Cooperation” between the Arts? The General History of Cinema According to Eisenstein\n12. Eisenstein’s Mummy Complex: Temporality, Trauma, and a Distinction in Eisenstein’s Notes for a General History of Cinema\n13. Sergei Eisenstein and the Soviet Models for the Study of Cinema, 1920s-1940s\nBibliography\nNotes\nIndex of names\nContributors