La máquina de pensar
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.
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