La máquina de pensar

  • Eduardo A. Russo

Abstract

The delineation of Eisensteins esthetic and poetic and his relation with the Russian formalists constitute
the axis of the essay. The relations between the thinking and the making, between the theory and the
praxis place Eisensteins filming as an attempt of thinking on images the developed concepts in a communal manner by the mentioned formalism. The author defines the eisenstenian subject as a 
reflexive one. Making a film od watching a film would not be more that another step in the way of
thinking. From this optic the analysis of Eisensteins filming it is faces from topics like the montage, the
idea of the tipaz, the screen as an emotional icon, of the musical analogy, etc., in a space that goes from the initial formalism to Eisensteins work in the Stalinism background.

References

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Eagle, Herbert (1981), Russian Formalist Film Theory, Michigan, Slavonic Studies.

Eisenstein, Sergei (1949), Film Form, New York, Harcourt&Brace.

Eisenstein, Sergei (1970), El sentido del cine, México, Siglo XXI.

Eisenstein, Sergei (1976), La non-indiferente nature, París, UGE.

Jameson, Fredric (1972), The Prison-House of Language, Princeton, Princeton University Press.

Sklovski, Victor (1972), Eisenstein, Barcelona, Anagrama.

Sklovski, Victor (1973), La disimilitud de lo similar los orígenes del formalismo, Madrid, Alberto Corazón.

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Vigotsky, Lev (1962), Pensamiento y lenguaje, Buenos Aires, Siglo XXI.

Published
2019-10-24
How to Cite
Russo, E. A. (2019). La máquina de pensar. Cuadernos Del Centro De Estudios De Diseño Y Comunicación, (15), 59 a 68. https://doi.org/10.18682/cdc.vi15.1658
Section
Artículos

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