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Mikhail Iampolski
Translated by Harsha Ram
To Annette Michelson
CONTENTS
Acknowledgements ix
Introduction 1
Part I
Basic Concepts 5
Chapter 1. Cinema and the Theory of Intertextuality 7
Part II
Narrative's Way: D. W. Griffith 49
Chapter 2. Repressing the Source: D. W. Griffith and Browning 51
Chapter 3. Intertextuality and the Evolution of Cinematic Language:
Griffith and the Poetic Tradition 83
Part III
Beyond Narrative: Avant-Garde Cinema 123
Chapter 4. Cinematic Language as Quotation: Cendrars and Léger 125
Chapter 5. Intertext against Intertext: Buñuel and Dali's Un Chien
andalou 162
Part IV
Thoerists Who Practiced 191
Chapter 6. The Hero as an "Intertextual Body": Iurii Tynianov's
Lieutenant Kizhe 193
Chapter 7. The Invisible Text as a Universal Equivalent: Sergei
Eisenstein 221
Conclusion 245
Notes 255
Works Cited 283
Index 301
ACKNOWLEDGMENTS
Publication of this book would not have been possible without Ed Dimendberg, whose role in making the book extended far
beyond the usual duties of an editor. From the outset he supported a book written in a language as exotic as Russian. His faith,
perseverance, and generosity have been extraordinary. The debt that I owe him cannot be wholly expressed here.
I would also like to extend thanks to Harsha Ram for undertaking the difficult task of translating this book.
INTRODUCTION
In Myth and Reality, Mircea Eliade gives us a general account of the Greek mythology of memory. It reminds us that the
goddess Mnemosyne, sister to Cronos and Oceanus, was considered the mother of the Muses. According to Hesiod, Mnemosyne
preserved the memory of everything that had been but also knew what was yet to come. The poet, when graced by the Muses,
gains access to the knowledge Mnemosyne possesses, the knowledge of sources and originary principles. The Muses sing:
beginning with the sources, they recount the origins of the gods and of human beings. From them the poet receives the
superhuman memory of Mnemosyne.
Yet precisely because they are linked to the sources, these aspects of the originary reality do not enter the orbit of our present
life and instead remain inaccessible to daily experience. For this reason, Mnemosyne seems to draw the poet she endows with
superior memory into another world, the world of oblivion and the past, identified with death. Lethe, the river of oblivion that
flows through Hades, annihilates the memory of the deceased: indeed, it is this very act that renders them dead.
With the emergence of metempsychosis as a doctrine, however, Eliade notes a change in the mythology of memory. It is now
the prior life of the soul that must be recalled rather than the sources or originary principles. From this point on, oblivion no
longer symbolizes death but rather a return to life, a return marked by the soul's loss of any memory of its preceding lives. In
this context death emerges once again as the return to another world, the world of sources and higher knowledge. The prophets
and those favored by the Muses are among the few to have been permitted by Mnemosyne to retain their memory of their
previous lives and the originary principles: "They attempt to unite the scattered fragments, insert them into a single chain, in
order to grasp the meaning of their own fate."
PART I
BASIC CONCEPTS
Chapter One
Cinema and the Theory of Intertextuality
The Anagram
A far more sophisticated model for linking a manifest discourse to a latent one was elaborated in Ferdinand de Saussure's theory
of anagrams, which played a significant role in the creation of a theory of intertextuality. Saussure formulated his theory of the
anagram before writing his Cours de linguistique générale, but his writings on the anagram gained intellectual currency only
after 1964, when they were released along with his other unpublished writings. Saussure's claim was to have discovered in the
ancient Indo-European poetic tradition (early Latin, Greek, and Old German) a "general principle for composing verse by
'anagram.' Many poetic texts in this multiple tradition, such as the hymns of the Rig Veda, appear to have been constructed in
accordance with the acoustic (phonological) composition of the key word, generally the name (usually never mentioned) of a
divinity. The remaining words of a text were chosen in such a way that the sounds (phonemes) of the key word were repeated
with a certain regularity."23
Saussure accumulated a huge amount of material concerning the place of the anagram in Indo-European poetics, which he was
never to publish, for several reasons. First, he was embarrassed by the fact that none of the poets he had studied ever admitted to
having consciously employed the anagram as a principle. Second, he was unable to establish definitively that the anagrammatic
structures he had found were not the result of chance: "There is no way to resolve the question of chance [in anagrams], as the
following illustration will indicate: The most one could say against it is that there is a chance of finding on average in any three
lines the meanslegitimately or notto create any anagram whatsoever."24
Saussure's doubts have not obscured the broader methodological significance of the anagram as a graphic model of how one text
enters another,
PART II
NARRATIVE'S WAY:
D. W. GRIFFITH
Chapter Two
Repressing the Source:
D. W. Griffith and Browning
In the preceding chapter it was suggested that the quotation as a specific textual fragment is not essentially linked to authorial
intent; rather, it is constituted in the process of reading. The reader or viewer, not the author, is in this sense responsible for
creating the quotation as a textual layer. Of course this situation obtains only when the author refrains from naming the source
of the quotation directly, so that the quote exists in the text without quotation marks, as it were. When identified as such by the
author, quotations can even perform a normalizing role within the text, as indeed can those that are discovered by the reader.
And yet this layer of authorial quotation can also fulfill an entirely different function, one that is often diametrically opposed to
that just mentioned. Not only can the authorial quotation fail to "normalize" a text, but, on the contrary, it can serve to introduce
further anomalies, thereby making the text harder rather than easier to read.
Any kind of quotation that brings further anomalies into the text can be called misquoting. In cinema, misquoting can be most
readily found wherever a literary source is indicated as the basis of a film. The tradition of basing a film on a literary source (the
"adaptation") itself has the effect of turning the film as a whole into a huge quote, creating a kind of "global" intertextual link
between the film and the literary work. Critical readings of such adaptations are numerous and quite revealing in their shared
assumptions: they place the film alongside its literary source and locate much of the film's semantic potential in its fidelity to or
divergence from its literary origins.
Yet films have been made to misquote their literary source. We see a source misquoted most clearly in films such as Carl
Theodor Dreyer's Leaves from Satan's Book (1919). Dreyer declared his film to be the screen
Chapter Three
Intertextuality and the Evolution of Cinematic Language:
Griffith and the Poetic Tradition
In the preceding chapter I looked at ways in which certain parameters of film history might be examined in the light of a theory
of intertextuality. In this chapter I will seek to throw light on some of the classical figures of cinematic language and their
genesis.
The intertextual problematic can be legitimately projected onto the question of cinematic language and its genesis. The fact is
that any new figure of cinematic language, from the moment it appears to the moment it becomes mechanical and is finally
assimilated, is perceived as a textual anomaly and as such seeks clarification and normative status. It is not surprising, therefore,
that the intertext is constantly invoked in order to normalize new figures of cinematic language. Strange as this assertion may
sound, I would suggest that every new figure in cinematic language is essentially a quote that asks to be clarified through an
intertext.
As proof of this, one could invoke Sergei Eisenstein's well-known essay "Dickens, Griffith and Film Today," which brilliantly
demonstrates how Griffith's use of close-ups, as well as certain figures related to montage, can be clarified by referring to the
works of Charles Dickens. In this way Eisenstein seems to elevate Griffith's linguistic innovations to the status of Dickens
quotations. The Dickens intertext has provided Griffith's formal innovations with normative status. Eisenstein himself had based
his search for the Dickens intertext on prior accounts, including a section from the memoirs of Griffith's wife, Linda Arvidson,
who recalls a conversation her husband had had with some unknown person. In this conversation Griffith apparently defended
his use of "cutbacks" in the film After Many Years by referring to Dickens: so fundamental did this acknowledgment seem to
Eisenstein that he republished the piece in the Russian Griffith volume that he himself edited. 1 ne can surmise that Arvidson's
memoir is just a
<><><><><><><><><><><><>
Griffith, of course, was well aware of these early attempts at theoretical synthesis. Lindsay tells us that Griffith had specifically
invited him to the premiere of Intolerance in addition to buying a hundred copies of Lindsay's book to hand out to his studio
employees as a working manual.42 While making Intolerance, Griffith had quite consciously made use of the works of
Münsterberg and Lindsay (including Lindsay's theory of the hieroglyph). Nonetheless, Griffith's first efforts at applying the
poetics of transcendentalism to film in fact precede the appearance of these works. Indeed, I would suggest that it was precisely
these early efforts on Griffith's part that served to draw the attention of theoreticians toward the cinema. The most significant
experiments that Griffith was to make in this area involved the screen adaptation of a series of lyric poems on the sea. Among
these works, made during Griffith's years at Biograph, are three versions of the Tennyson poem Enoch Arden: After Many Years
(1908), The Unchanging Sea (1910), and Enoch Arden (1911). Mention might be made of a fourth version, entitled Enoch Arden
(1915) but rereleased as Calamitous Elopement, and directed by Christy Cabanne under Griffith's supervision.
Enoch Arden provided the vehicle through which Griffith was first able to realize the device of parallel montage. Griffith had
already applied the principal element of this montage, the cutback, in 1908, then barely five months into his directing career (in
the film After Many Years). It was this feature that Griffith would later justify by invoking Dickens.
The Tennyson poem recounts the fate of a shipwrecked sailor. His wife, Annie Lee, awaits her husband for many years by the
seashore. Richard Schickel has commented on Griffith's adaptation as follows: "The film lacked a chase, in itself a considerable
novelty, and indeed it contained very little action of any sort. Moreover, he risked a pair of parallel shots: Annie Lee at the
seaside, visualizing her shipwrecked husband on his desert isle (how she knew he was on an island was never explained); Enoch
on that barren strand, visualizing the long-gone comforts of home."43
These "risky parallel shots" involve the unexpected sequencing of Annie Lee by the seashore and Enoch Arden stranded on a
faraway island. We are dealing here with a conscious linguistic anomaly that brings
<><><><><><><><><><><><>
My hypothesis concerning the meaning of Griffith's search for a new cinematic language forces us to reconsider the traditional
understanding of parallel montage as a purely narrative device. Tom Gunning's careful study of Griffith's cutbacks has already
pointed to the conclusion that they play a "double role. . . . they express the thoughts of the characters and serve as a parallel
montage of autonomous and separate events."131 Griffith often does organize his films on two levels. The narrative level is
drawn out into a single thread that respects the logic of spatiotemporal connections and the relations of cause and effect. Yet
above this narrative level Griffith creates another textual layer (although it is sometimes fragmentary), with which the plot-
generating events are linked along a kind of vertical axis. It is precisely these vertical links that constitute meanings as
correspondences.
As if anticipating the structure of Intolerance, Hugo Münsterberg had written: "We think of events which run parallel in
different places. The photoplay can show in intertwined scenes everything which our mind embraces. Events in three or four or
five regions of the world can be woven together into one complex action."132 But to weave together different facts assumes not
a linear but a cyclic development of motifs. Cyclic recurrence and repetition in the spirit of Emerson's transcendent circle of
meanings are very close to the principle of repetition and stanzaic refrain in poetry. Not so long ago Eileen Bowser, a specialist
in early film, discovered to her own surprise this circularity of structureunexpected from the perspective of classical narrativein a
great number of Griffith's films.133 These structures, producing repetition and parallelism, serve to layer and concentrate
meaning upon meaning, creating what Iurii Lotman has called a "cluster of structural significations."134
Bowser has linked the cyclic nature of the films made at Biograph to Griffith's deep immersion in poetry. But what is important
for our purposes is not the simple imitation of poetic structures. Harold Bloom has pointed out that romantic poetry, even as it
gravitates superficially toward visual sensations, in actual fact negates the capacity of the seeing eye to embrace the world and
its essence. Bloom thus contrasts the visible with the visionary. Taking up a poem by Blake, he writes: "With an eye made
active by an awareness of cinema, we see what Blake gives us in his passage, a se-
PART III
BEYOND NARRATIVE:
AVANT-GARDE CINEMA
Chapter Four
Cinematic Language as Quotation:
Cendrars and Léger
For several reasons, avant-garde cinema is of special interest in a study of intertextuality. First of all, the avant-garde film, when
perceived against the background of classical narrative cinema (and that is precisely how it is usually perceived), presents itself
as an openly acknowledged ''anomaly" that needs to acquire normative status. In this sense the avant-garde film seems to lend
itself readily to an intertextual interpretation. Seeking to crack the code in which a difficult text is written, the reader or viewer
as a rule may turn willy-nilly to other texts that might be able to throw some light on the enigma at hand.
Second, the avant-garde text presents itself as something "new," unprecedented, a complete negation of the preceding traditiona
move vital to its operative situation. The discourse of the author is equated with the utterances of a new Adam who speaks as if
he had no predecessors. In this way the avant-garde text, which by its very nature orients the reader toward an intertextual
reading, at the same time appears consciously to bracket any intertext that would make this reading possible. This bracketing of
intertextuality was a programmatic part of the early avant-garde. A vast array of manifestos of every kind, generated to defend
the avant-garde's premises, constantly sought to subvert the received tradition; while in the visual arts and the cinema similar
manifestos would insist systematically on their independence from language, which they perceived as the principal bearer of
tradition and chief guardian of the "warehouse of quotes."
Avant-garde cinema typically rejects such characteristics as traditional plot interest, suspense, and identifiable human
characterseverything normally associated with literature. Nevertheless, it cannot be said that a rejection of suspenseful plots and
character interest implies a total break
Chapter Five
Intertext against Intertext:
Buñuel and Dali's Un Chien andalou
Cendrars was not the only writer of the avant-garde to adopt the cinema as his literary model. The cinema provided a fictitious
escape from literature, while also holding out the possibility of its radical renewal. The films imagined by the writers of the
avant-garde were all too frequently never intended for production, retaining their significance precisely as facts of literature.
This seems to me the real reason for the clear discrepancy between the number of films the surrealists conceived and those
actually produced. A great number of surrealist screenplays have survived. Among the most important are Philippe Soupault's
Poèmes cinématographiques and Le Coeur volé; La Coquille et le Clergyman, Les Dix-huit secondes, La Révolte du boucher,
and others by Antonin Artaud; Minuit à quatorze heures, Les Mystères du métropolitan, Y a des punaises dans le rôti de porc,
and many others by Robert Desnos; Paupières mûres, barre fixe, and mtasipoj by Benjamin Fondane; Benjamin Péret's
Pulchérie veut un auto; Georges RibemontDessaignes's Le Huitième jour de la semaine; Georges Hugnet's La Loi
d'accomodation chez les borgnes; and Francis Picabia's Sursum Corda and others. Only two of these films were actually
produced: La Coquille et le Clergyman (directed by Germaine Dulac and repudiated by Artaud himself) and George Hugnet's La
Perle (19281929, directed by H. d'Ursel). The pantheon of surrealist cinema is an extraordinarily limited one. To the preceding
list we could also add two films by Luís Buñuel and Salvador Dali, Un Chien andalou (1928) and L'Age d'or (1930), and
perhaps L'Étoile de mer (1928) by Man Ray and Robert Desnos as well.
The desire to create a cinema not destined for the screen was expressed with remarkable candor by Benjamin Fondane in 1928:
"SO LET US BEGIN THE ERA OF UNFILMABLE SCRIPTS. Something of the astonishing beauty of the fetus will be found
there. Let us say right away that these screenplays
PART IV
THEORISTS WHO PRACTICED
Chapter Six
The Hero as an "Intertextual Body":
Iurii Tynianov's Lieutenant Kizhe
The Russian critic Iurii Tynianov is known as one of the founders of the theory of intertextuality. Tynianov was also an
important theorist of film, with the added distinction of having practical experience in the film industry. It is this circumstance
that prompts me to turn to his work, in particular to one of his film experiments, Lieutenant Kizhe, which he made jointly with
the director A. Faintsimmer. To a considerable degree, Tynianov's artistic production was informed by the conceptual apparatus
he had developed as a theorist. This fact permits us to analyze Lieutenant Kizhe as the realization of a specific set of theoretical
premises.
This film is relevant to our project for several reasons. Faintsimmer had no original ideas of his own about the poetics of cinema
(unlike the directors of FEKS [Fabrika èkstsentricheskogo aktëra, The factory of the eccentric actor] who interpreted Tynianov's
scripts in a programmatically eccentric way): Faintsimmer appears in essence to have closely followed Tynianov's instructions.
Second, the evolution of the film's plot sheds some light on this chapter's principal theme. This plot was reworked several times
and exists in several versions (including the short story "Lieutenant Kizhe," which is widely known in Russia). The somewhat
whimsical semantic links between these versions can themselves be understood as intertextual relations.
In general terms, the creative evolution of Lieutenant Kizhe has been quite adequately studied. 1 Tynianov wrote his first screen
version of Kizhe for S.I. Iutkevich in May 1927, but the film was not destined to be produced at that time.2 In December of the
same year, Tynianov completed the literary version of "Lieutenant Kizhe," which was published in January 1928. In the early
1930s, Tynianov returned to the film version of Kizhe,
Chapter Seven
The Invisible Text as a Universal Equivalent:
Sergei Eisenstein
The system described in the last chapter, with its shifts and substitutions, its subtexts and the strategies for their concealment, is
the basis of Tynianov's literary prose. In the third part of his biographical novel Pushkin, Tynianov describes the poet's secret
love for E. A. Karamzina. Contemporaneous with the novel is Tynianov's article "A Nameless Love," in which the artistic
intuition of the novelist is given a philological basis. 1 Tynianov's findings did not meet with universal acceptance in the
scholarly community. Boris Eikhenbaum tactfully called it the fruitful application of "artistic method" to scholarship.2
Nonetheless, Tynianov's hypothesis about Pushkin's secret passion was enthusiastically received by Sergei Eisenstein. After
reading part 3 of the novel, Eisenstein conveyed his enthusiasm in a letter that Tynianov was never to receive, since he died
before it could even be sent.3
Eisenstein's rapturous response seems all the more striking given his persistent refusal to discuss the literary theory of the
OPOIAZ group or the film theory emanating from the formalist school. Like Tynianov, Eisenstein was intrigued by the theme of
substitution, of a subtext that might be hidden, but from an angle quite remote from Tynianov's own preoccupations. Eisenstein's
interest lay not so much in the situation of intertextuality itself (in the widest sense of the term, as when a text acquires its full
meaning through some reference to an extratextual reality) as in the existence of some mysterious, hidden equivalent that
permits the juxtaposition of these various extratextual realities.
In his letter to Tynianov, this question is framed in terms of one drive taking the place of another, as a kind of Freudian
"transference"in other words, in psychological terms. Eisenstein is seeking analogous situations in the realm of culture. As an
analogy to the displacement of Pushkin's love
CONCLUSION
We are nearing the end of our investigation. Perhaps unexpectedly, in the last chapter we came across some motifs in Eisenstein
that were already known to us from analyzing the films of D. W. Griffith. Both Eisenstein and Griffith cultivated a myth of
origins, to which all their films aspired. For Griffith this origin was figured as music, or some originary Book, whereas
Eisenstein looked to the beginnings of conceptual thought in "primitive" societies. In fact, the same quest for origins is equally
characteristic of the other filmmakers I have examined in this book. Cendrars and Léger adapted a myth of universal creation to
the exigencies of creating a new (cinematic) language. Tynianov investigated the genesis of the hero through the genesis of his
name, thereby invoking a prerational transsense (zaum') as the originary language. Finally, Buñuel and Dali derived the birth of
form from a necrophilic understanding of creative metamorphosis. In each case, we have seen that the theme of mythic origins
enters the text along with the process of intertextuality.
In systematically cultivating a myth of origins, a culture also raises the question of how anything begins, the point, more
specifically, from which a text emerges. Yet this very hankering for origins ultimately reveals that texts finally lack a definitive
source. As Rosalind Krauss puts it: "But what if there were no beginning uncorrupted by a prior instanceor what in most of
poststructuralist writing is rendered as the 'always already'?" 1 From this conclusion, we are led to reject as meaningless any
notion of an origin from which a text is said to derive, along with the notion of author as the "originary source." Literary and
other critics have long questioned the authorial function, so that the notion of author as sole generator of the text now appears to
stand on shaky ground. The text is seen to be constructed
NOTES
Introduction
1. Eliade, Myth and Reality.
2. Freidenberg, Mif i literatura drevnosti, 353.
3. Eliot, The Waste Land, ll. 215225.
4. Cf. Fabricius, The Unconscious and Mr. Eliot, 160.
5. Quoted in McFarlane, ''The Mind of Modernism,'' 90.
6. Ibid.
Chapter One
1. Aumont, "Crise dans la crise," 199.
2. Lagny, "Histoire et cinema," 74.
3. Lotman, "Neskol'ko myslei o tipologii kul'tur" (Some thoughts on the typology of cultures), 11.
4. Laplanche and Pontalis, "Fantasme des origines," 18331868.
5. Durgnat, Films and Feelings, 230; see also 229235.
6. Cf. Cieutat, "Naissance d'une iconographie," 615; and Gubern, "Contribution à une lecture de l'iconographie griffithienne,"
117125.
7. Panofsky, "Style and Medium in Moving Pictures," 25.
8. Panofsky, Meaning in the Visual Arts, 31.
9. Hanson, "D. W. Griffith: Some Sources," 500; cf. also Montesanti, "Pastrone e Griffith," 817; and Belluccio " 'Cabiria' e
'Intolerance' tra il serio e il faceto," 5357.
10. Cherchi Usai, Pastrone.
11. Brownlow, The Parade's Gone By, 5354.
12. On this tradition, see Heckscher, "Bernini's Elephant and Obelisk," 6596.
13. Collin de Plancy, Dictionnaire Infernal, 231; cf. also Panofsky, Idea, 248, on chastity; Physiologus: Frühchristlicher
Tiersymbolik, 81; Muratova, Srednevekovyi bestiarii,
Chapter Two
1. Prawer, Caligari's Children, 138163.
2. Drouzy, Dreyer né Nilsson, 256.
3. Ibid., 257259.
4. Bloom, The Anxiety of Influence: A Map of Misreading; Poetry and Repression.
5. Bloom, Poetry and Repression, 27.
6. Ibid., 204.
7. Ibid., 10.
8. Jenny, "La Stratégie de la forme," 258.
9. Borges, Borges: A Reader, 243.
10. Geduld, Focus on D. W. Griffith, 56.
11. Griffith, "The Movies 100 Years from Now," 4950.
12. Merritt, "Rescued from Perilous Nest," 6.
13. Ibid., 8.
14. Fell, Film and the Narrative Tradition, 1236.
15. Altman, "Dickens, Griffith, and Film Theory Today," 323324.
16. Merritt, "Rescued from Perilous Nest," 11.
17. Geduld, Focus on D. W. Griffith, 32, 33.
18. Merritt, "Rescued from Perilous Nest," 12.
19. Schickel, D. W. Griffith, 142.
20. Arvidson, When Movies Were Young, 130.
21. Goodman, Fifty-Year Decline and Fall of Hollywood, 11.
22. Giuliano and Keenan, "Browning without Words," 145146.
23. Hogg, "Robert Browning and the Victorian Theatre," 8.
24. Biograph Bulletins, 19081912, 77.
25. Browning, Poetical Works, 359.
26. On this cycle of Browning's poems, see Klimenko, Tvorchestvo Roberta Brauninga, 99116.
27. Browning, Poetical Works, 359.
28. Winn, Unsuspected Eloquence, 238239.
29. Görres, "Aforizmy ob iskusstve" (Aphorisms on art), 86.
30. Pater, The Renaissance, 145.
31. Cf. Arnim, "O narodnykh pesniakh," 403; and Pater, The Renaissance, 150151.
32. Browning, Poetical Works, 127.
33. Ibid., 144.
34. Wordsworth, The Prelude: Or Growth of a Poet's Mind, 103.
35. Whitman, Complete Poems, 399400.
36. Arnold, The Poems ofMatthew Arnold, 337.
37. Browning, Poetical Works, 131.
38. For Browning's debt to Hugo, see Hogg, "Robert Browning and the Victorian Theatre," 65; for Diderot, see A. Symons,
Introduction to the Study of Rob-
Chapter Three
1. Cf. Arvidson, When Movies Were Young, 66; Eisenstein, "Dickens, Griffith and Film Today," in Film Form, 195255; and
Eisenstein and Iutkevich, D. U. Griffit, 130.
2. Geduld, Focus on D. W. Griffith, 52.
3. Eisenstein, "Dickens, Griffith, and Film Today," 205. It is worth noting, however, that neither the published Russian version
nor the original manuscript of Eisenstein's article (Sergei Eisenstein Archive, f. 1923, op. 2, ed. khr. 328, RGALI,
Chapter Five
1. Virmaux, Les Surréalistes et le cinéma, 73.
2. Desnos, Cinéma, 157.
3. Ibid., 165.
4. Breton, Les Manifestes du surréalisme, 73.
5. Buñuel, "Notes on the Making of 'Un Chien andalou,'" 2930.
6. In one case the prologue has been understood as the description of infantile sexuality, whereby the eye is a symbol of the
female sexual organ and the razor of the male (see Durgnat, Luis Buñuel, 2324). Elsewhere the prologue has been seen as an
embodiment of various castration complexes and phantasms (see Marie, "Le Rasoir et la lune," 196197). Marie, however, does
ground his reading in a surrealist
Chapter Seven
1. See Iu. Tynianov, Pushkin i ego sovremenniki, 209. The article "Bezymennaia liubov" was first published in Literatunyi
sovremennik 56 (1939).
2. Eikhenbaum, O proze, 383.
3. Shub, Zhizn' moia-kinematograf, 167168.
4. Eisenstein, "Pis'mo Tynianovu," 179.
5. Eisenstein, "Psikhologiia kompozitsii," 281.
6. Ibid., 280.
7. Eisenstein, Izbrannye proizvedeniia, 3: 496497.
8. Eisenstein, "Psikhologiia kompozitsii," 276.
9. Ibid., 278. The phrase "dissect music like a corpse" is Pushkin's, from Mozart and Salieri (1830) (translator's note).
10. Eisenstein, "Nachahmung als Beherrschung," 34.
Conclusion
1. Krauss, "Originality as Repetition," 36.
2. Fried, "Antiquity Now," 92.
3. Pleynet, Lautrémont par lui-meme, 90.
4. Metz, Le Stgnifiant imaginaire, 274.
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Arnim, Achim von. "O narodnykh pesniakh." In Èstetika nemetskikh romantikov, edited by Aleksandre V. Mikhailov, 376406.
Moscow: Iskusstvo, 1987.
Arnold, Matthew. The Poems of Matthew Arnold, 1840 to 1866. London: J. Dent, 1908.
Arnold, Matthew. The Poems of Matthew Arnold. Edited by Kenneth Allott. London: Longmans, Green, 1965.
INDEX
A
"Abbot Vogler" (Browning), 62
A B C du cinéma (Cendrars), 150, 156
Abel, Richard, 20
Abélard, 186
abstraction, 251;
avant-garde, 127, 134;
Eisenstein and, 228-39, 279n43, 280n66
Abstraktion und Einfühling (Worringer), 231
Adam, 12
"Adamic" language, 89, 99, 106, 120
Addams, Jane, 93
Adorno, Theodor, 229, 279n36
Aeneid (Virgil), 32-35
African fetish/dance, 151-52, 155
After Many Years (Griffith), 52, 83, 84, 93-94, 98-99
L'Age d'or (Buñuel and Dali), 162, 184
aggression, 119-20
Ahuramazda (Ormuzd), 24
"Alchemical Theatre" (Artaud), 21
alchemy, 21-25, 172
alcoholism, 40, 60
Alcott, Amos Bronson, 88
Aleksandr Nevsky (Eisenstein), 229, 232, 240, 243
alembic (alchemical still), 23-24
Alexandrian, Sarane, 268-69n66
allegory:
avant-garde, 133-34, 136;
of death, 237;
De Quincey, 114;
Griffith, 73, 76, 77, 120;
Méliès, 14.
See also hieroglyphs
Allin, Alex, 20
"Allotropies" (Breton), 170
Les Altantes (Gance), 269n77
Altman, Rick, 56
Aman-Jean, Pierre, 14
ambivalence:
and Lieutenant Kizhe, 210;
in search for origins, 81;
surrealist, 173, 178, 179
anagrams, 16-25, 100, 101, 153;
alchemy and, 21-24;
and hieroglyphs, 27;
hypograms, 17;
logograms, 17;
sounds, 16, 21-25, 26;
surrealist, 178;
trans-sense and, 201.
See also paragrams
analogies:
Eisenstein and, 221-22, 228, 230;
surrealist, 185, 187-89, 250, 273n79
analysis, 7, 15;
Eisenstein and, 225, 228, 231-33, 237;
graphological, 233;
self-, 237.
See also psychoanalytic interpretation; theory
anatomy, 223-24, 239. See also body
androgyny, 2, 3, 181
Ane en putrefaction (Dali), 180
Anemic Cinema (Duchamp), 153
"L'Âne pourri" (Dali), 185
angels, 117;
Apocalypse spirit, 115;
of death, 33, 73;
in heavenly city, 109
animal images. See bestiaries; insects; individual animals
"Annabel Lee" (Poe), 107-8
anomalies, 247, 251;
avant-garde, 125, 146, 166;
cinematic language, 74, 83, 100-104, 121;
normalizing, 30, 83, 101, 121, 125, 247;
parallel shots, 93-94;
and quotation/misquotation, 30, 34-35, 51, 52, 58, 79, 201.
See also inversion; negation
B
Babel, Tower of, 56, 87-88, 116
Babylon, 11-13, 114, 115, 119;
Intolerance, 11-13, 14, 75, 76, 86, 92, 109-10, 115;
Lindsay, 109, 264n108
"Babylon, Babylon, Babylon the Great" (V. Lindsay), 109
Bakhtin, Mikhail, 43
Baladart (Prévert), 172
Ballet mécanique (Léger), 126-31, 266n21;
and Cendrars, 134, 137-39, 150-61;
and Delaunay, 145;
Duchamp and, 153;
metaphors, 137, 139, 150, 153, 155, 157, 249, 250;
surrealists and, 166, 168
Ballets suédois, 150-51, 152
balls:
glass, 23-24, 43-44;
as mirrors, 43;
surrealist, 167-69, 171, 172.
See also circle
Balzac, Honoré de, 33, 98, 116, 118
barre fixe (Fondane), 162
Barthes, Roland, 29-30, 35-36, 217
Barzun, Henri, 140
Bataille, Georges, 164, 180, 246, 253;
L'Expérience intérieure, 184;
Histoire de l'oeil, 170, 271n6;
L'Informel, 188;
"La Mutilation sacrificielle et l'oreille coupée de
C
Cabanne, Christy, 93
Cabiria (Pastrone), 11, 12, 14
Cahiers du Cinema, 29-30
Calamitous Elopement (Griffith), 93
California, 99, 109
camera:
looking into, 217;
subjective, 202-5, 211, 213, 217, 276n43
Canetti, Elias, 4
Caprichos (Gómez), 165
carnivals, 9-10, 18
Carroll, N., 46
Carthage, 11, 13
Castiglione, Countess de, 176
"Castle of Pride," Seven Mortal Sins (Méliès), 14
catastrophe:
avant-garde, 146-47;
at sea, 99.
See also chaos; destruction
cave painting, 13, 231
Cendrars, Blaise, 125-61, 245;
"A B C du cinèma," 150, 156, 268n51;
"Chasse à l'elephant," 129;
"Construction," 143-44, 147-48;
and contrasts, 141, 143-44, 149, 268n6o;
"Contrasts," 141, 143-44;
La Création du monde, 144, 146-47, 150-52, 159;
and Delaunay, 140-44, 149, 268n60, 269n66;
"De partition des couleurs," 148;
"Dix-neuf poèmes électriques," 141;
"Documentary Footage," 129;
L'Eubage, 137, 157-58, 270n109;
"Fernand Léger," 146;
La Fin du monde filmée par l'Ange N.D., 129, 144-50, 156, 269n77;
J'ai tué, 144;
kitchen images, 153, 155, 249;
"Kodak," 129;
Léger and, 128-61, 250;
Moganni Nameh, 136, 137;
Moravagine, 139, 151-52, 153, 155, 156;
La Nature chez elle, 129;
Negro Anthology, 151;
numerology, 270n105;
La Perle fiévreuse, 130, 152;
Le Plan de l'aiguille, 130, 135-36;
"Poets," 138;
"Pompon," 156;
La Prose du Transsibérien, 140;
and La Roue, 129, 130-36, 137, 139, 267n39;
"Tower," 143;
"Twelve Elastic Poems," 143;
"LaVentre de ma mère," 148;
La Vènus Noire, 130
centaur, 39
center, 78
centering, 36
cento, 28
Central America, 153
Chagall, Marc, 137
Les Champs magnétiques (Breton and Soupault), 169, 272n50
chaos, 4, 10, 46;
avant-garde, 146, 150, 151, 155-56, 157.
See also destruction
Chaplin, Charlie:
Cendrars and, 133, 145;
Eisenstein and, 222, 223;
Leger and, 128, 160;
"sentimental biography" of, 222;
work, 180
Die Chapliniade (Goll), 128
characters:
avant-garde and, 125-26;
Lieutenant Kizhe, 194-95, 201, 217-18, 220.
See also hero
Charansol, George, 131
Une Charogne (Baudelaire), 182
chase scenes, 102
"Chasse a l'elèphant" (Cendrars), 129
chastity, symbol of, 12
Les Chátiments (Hugo), 181-82
Chekhov, Anton, 197, 199, 200
Chemyshevskii, Nikolai, 210-11
Chevreul, Michel-Eugène,
D
Dali, Salvador, 162-90, 228, 246;
L'Age d'or, 162, 184;
Aneen putrefaction, 180;
"L'Âne pourri," 185;
Bureaucrate atmosphérocéphale moyen en train de traire une harpe cránienne, 187;
Combinaisons, 173;
Cráne atmospherique sodomisant un piano à queue, 187;
Crânes mous et harpe crânienne, 187;
Enigmatic Elements in a Landscape, 176;
Le Grand fourmilier, 173;
Le Grand masturbateur, 173, 186;
"Le Grand masturbateur," 186;
Guillaume Tell, 173, 180;
Image Disappears, 177;
Le Jeu lugubre, 173;
Jeune fille au crâne, 187;
Leiris and, 274n107;
"Light-Ideas," 176-77;
Marvellous Adventures of the Lacemaker and the Rhinoceros, 177;
Le Miel est plus doux que te sang, 180;
Mom ami et la plage, 180, 184;
"multiple representation," 185, 274n107;
Naissance de désirs liquides, 185;
"Les Nouvelles Frontières de la peinture," 184-85;
"paranoia-critique," 176-77, 181, 185, 187;
Phantom of Vermeer of Delft, 176;
Phantom of Vermeer of Delft That Can Be Used as a Table, 176;
Le Rêve, 173;
Senicitas, 180;
Source nécrophilique surgissant d'un piano à queue, 185-86;
Vache spectrale, 180.
See also Un Chien andalou
Dällenbach, Lucien, 36-37, 38
Damisch, Hubert, 273n79
dance, ritual, 151, 152, 155
Danis, Ida, 135
"Danse macabre" (Baudelaire), 238
Danseuse (S. Delaunay), 141
Dante Alighieri, 39, 40
"Darling Daughter of Babylon" (V. Lindsay), 264n108
E
eagle, 190
earth, 107-8, 114, 120;
shoreline, 96-98, 105, 107
eavesdropping, 103, 104
echoes, 100-101, 106, 111-12;
double, 98
"Éclaircie" (Hugo), 112, 113
écriture automatique, 166, 234
ecstasy, and similarity, 242
Edgar Allan Poe (Griffith), 68, 85
egg, 24-25, 151-52, 153, 155, 170
Egypt:
dream interpretation, 264n89;
hieroglyphs, 20, 108, 109, 264n89;
Memphis, Tennessee and, 109
"eidetic image," 234
Eikhenbaum, Boris, 198, 200
Eisenstein, Sergei, 87, 120, 221-45, 267n33, 281n83;
and abstraction, 228-39, 279n43, 280n66;
Aleksandr Nevsky, 229, 232, 240, 243;
Belisarius, 234;
Blind Man, 234;
Blind Men, 234;
blindness motif, 234-35, 253;
"cinematism," 78, 79;
"Dickens, Griffith and Film Today," 83-84;
Forever without Sight!, 234;
Glumov's Diary, 272n43;
and hieroglyphs, 26-27;
"In the Realm of the Blind," 234;
on Intolerance, 111;
Ivan the Terrible, 235;
Life Leaving the Body Forever, 241;
and Lindsay, 263n87;
mise-en-cadre stage, 257n6;
"Museums at Night," 233-34;
and mysticism, 228, 236, 242, 280n66;
"Non-Indifferent Nature," 232-33;
October, 238, 248-49;
"On Bones," 242;
"On Detective Fiction," 232;
"On Folklore," 240;
"Organic and the Image," 227;
"Psychology of Composition," 222, 237;
"Three Whales," 228;
Tiresias, 234-35;
and Tynianov, 221-23, 224, 241;
"Vertical Montage," 229, 230
Eisler, Hans, 229-30, 279n36
elephant, 11-15, 129
Elephanta Caves, 13
Eliade, Mircea, 1, 178, 273n75
Eliot, T. S., 3, 178
Éluard, Paul, 168, 170, 176, 186
Emerson, Ralph Waldo, 88-92;
"Art," 90;
circle, 92, 118;
hieroglyphs, 107, 117, 120;
Nature, 89;
on painting and sculpture, 90, 91-92, 262n32;
Representative Men, 240
Empedocles on Etna (Arnold), 63-64, 77
empirical knowledge, 7, 8
L'Enchanteur pourrissant (Apollinaire), 3, 180-81, 187, 274n97
"L'Endroit et l'envers" (Cocteau), 33-34
"L'Enfant maudit" (Balzac), 98, 116
F
Faintsimmer, A., Lieutenant Kizhe, 193-94, 203-4, 211-13, 217
fair, motif of, 10
falsehood/deception, 41-42, 59, 213-14
fate:
Cendrars and, 134-35, 137;
Three Fates, 76, 111-12
Faust (Goethe), 181
FEKS (Factory of the Eccentric Actor), 193
Fell, John, 56
feminist film theory, 7
"La Fenune aux paons" (Aman-Jean), 14
Les Fenêtres (R. Delaunay), 141, 142
Fenollosa, Ernest, 120, 265n138
"Fernand Léger" (Cendrars), 146
"Le Feu de ciel" (Hugo), 13
figuration, 28, 165, 208, 241, 249-50
film. See cinema
film critics:
Arroy uniqueness, 267n33;
blindness of, 56, 58;
on epistemological crisis, 7;
on Griffith, 56, 58, 59, 69-70, 78;
quotation by, 29;
and theater and cinema, 56, 57
film noir, American, 31
Film Theory and the Crisis in Theory, 7
fingernails, 158
La Fin du mande (Gance), 269n77
La Fin du monde filmée par l'Ange N.D. (Cendrars), 129, 144-50, 156, 269n77
Fisher Folks (Griffith), 68
Flammarion, Camille, 137, 269n77
Flaubert, Gustave, 181
fleur-de-lis, 184
Fliess, Wilhelm, 270n105
flowers, 10, 18, 184-85
"Fonction du poète" (Hugo), 113
Fondane, Benjamin, 162-63, 168, 170
Forever without Sight! (Eisenstein), 234
form:
Eisenstein and, 225-32, 236-37, 239, 241;
"mediated," 62;
surrealists and, 167-68, 187-88.
See also formalism; sketches
formalism, Russian, 200, 209, 221, 251-52
Formes circulaires (R.Delaunay), 141
Forty Guns (Fuller), 31-32
Foucault, Michel, 15-16, 37
"Foundations of Cinema" (Tynianov), 209
fragments, 30-31;
avant-garde artists and, 146, 154-55, 159, 168;
memory and, 2-4
frame, 257n64
Francastel, Pierre, 144
France, Dutch art exhibition, 175
Freidenberg, Ol'ga M., 274n101
Freud, Sigmund/Freudianism, 166, 173, 221, 248, 270n105. See also psychoanalytic interpretation
G
Gance, Abel, 131-37, 150, 190, 267nn33, 35, 270n109;
Les Altantes, 269n77;
cult, 134-36;
La Fin du monde, 269n77;
J'accuse, 130, 132;
La Roue, 129-40, 144, 145, 266n20, 267nn39, 40
García Lorca, Federico, 169
Garin, Érast, 194, 204
Gasparov, Mikhail, 28, 81
Gaudreault, André, 104
gaze:
"iconic," 217;
Lieutenant Kizhe, 204, 217-18.
See also eyes; seeing; sight; vision
"genealogical curiosity," 15
generalization, 226, 228-31
genesis, 148, 149, 151, 156. See also birth; creation; origins
Genesis (Bible), 76
geometry, 140-41, 154-55, 188, 227-28, 238. See also circle; contour; square
Gérard, François Pascal, 234
Gertrud (Dreyer), 38
Gide, André, 36
Ginsburg, Mirra, 197
Une girafe (Buñuel), 168, 172
Gish, Lillian, 75, 111-12, 190, 264n110
Giuliano, E., 59, 78
glass ball, 23-24, 43-44
glasses, 74. See also mirrors
"glossemic combinations," 200-201, 205
Glumov's Diary (Eisenstein), 272n43
Gobelin tapestry, 38, 39
God, 80, 88, 147, 184, 216-17;
Eye of, 217-18;
Jehovah, 25;
"personified," 236
Godard, Jean-Luc, 31-32, 34, 35, 37-38
God of Wisdom, Health and Well-Being according to the Sinhalese (Picard), 13
Goethe, J. W. von, 89, 181
Gogol, Nikolai, 208, 209-11, 219-20;
"Nevskii Prospekt," 215;
"Nose," 209-10, 214-15, 220, 278n87;
Overcoat, 198, 209, 210-11, 277n72
gold, 24, 25
golden bough, 32-33
"golden section," 227-28
Golding. John, 140
Goll, Ivan, 128, 145, 267-68n40
Gómez de la Serna, Ramón, 164-65, 187, 250, 271n12
Goncharova, Nathalie, 221-22
Gorin-Gorianov, B., 204
Görres, Joseph, 62
grammaticality, surrealists and, 166, 167
Le Grand déjeuner (Léger), 155
Le Grand fourmilier (Dali), 173
Le Grand masturbateur (Dali), 173, 186
"Le Grand masturbateur" (Dali), 186
graph, 227, 229, 250
graphology, 232-34, 236, 239
grave, 95, 146, 184, 186. See also coffin; death
graveyard, 146
Graw, Robert, 57
Great Purges (1937), 235
Greek mythology, 1-2, 39
Greene, Naomi, 20
Griffith, D. W., 10-15, 26, 49-121, 245, 271n12;
After Many Years, 52, 83, 84, 93-94, 98-99;
autobiographical, 57, 71;
Avenging Conscience, 93, 107-8, 120;
biography, 69-70;
Birth of a Nation, 58, 89;
and Browning, 51, 55-61, 67-79, 85, 87;
Calamitous Elopement, 93;
"Cinema: Miracle of Modern Photography," 87;
and cinemaric language, 55-57, 66-67, 69, 74, 76-77, 80, 247-48;
Corner of Wheat, 103;
Cricket on the Hearth, 68;
and Dickens, 83-84, 93, 102-3;
Drive for a Life, 102;
Drunkard's Reformation, 40-42, 60, 61, 68-69;
Edgar Allan Poe, 68, 85;
Escape, 69;
Fisher Folks, 68;
Gance and, 132;
hieroglyphs, 106-21, 190, 264n110;
Home, Sweet Home, 55, 69-77, 94;
Judith of Bethulia, 93;
Lindsay and, 91-93, 106-12, 116, 264n108;
Old Isaacs, the Pawnbroker, 103;
Orphans of the Storm, 56;
Pacific Coast travels, 99;
Pippa Passes, 55-61, 67-70, 74, 79-80, 87;
Plain Song, 67;
and poetic tradition, 56, 83-121, 265n138;
poet idols, 85;
psychology, 57;
"real name"/pseudonym, 86;
Salomé debut, 59;
Sands of Dee, 52, 99-102, 104-6, 108, 120;
Song of Conscience, 67;
and text titles, 104, 263n79;
To Save Her Soul, 67;
Unchanging Sea, 52, 93, 99, 104;
H
Hagan. J., 261n29
hair, 173, 174
hallucinations, 95, 98, 107-8, 180, 202
Hamp, Pierre, 133-34
hands, 170-71, 181, 225-26, 271-72n40
handwriting:
écriture automatique, 166, 234;
graphology, 232-34, 236, 239
Hansen, Miriam, 76, 119
Hanslick, Eduard, 229
Hanson, B., 11
Han Yu. 55
Harris, Frank, 240
Harvard, 92
head, 24, 25, 170. See also eyes; noses; physiognomy; skull; teeth
hearing: vs. vision, 77, 100, 230, 234-35. See also sounds
Heath, S., 257n64
heaven, 109, 114, 118. See also angels
Hebrew, 24, 76
Hegel, G. W. F., 235
Heidegger, Martin, 257n61
Heine, Heinrich, 99
Héliogobale ou l'Antichrisle couronné (Artaud), 21
"Héloïse et Abélard" (Artaud), 186
Henabery, Joseph, 11
"heraldic construction," 36, 61, 77
hermaphrodites, 181
Hermetic tradition, 22, 24
hero, 193-220, 245;
actorly presence, 211;
"blank," 201, 202, 208;
"hero's summation," 208-9
Hesiod, 1
"Hiérogtyphe" (Cros), 117
hieroglyphs, 26-28, 76, 106-21, 248, 250-51;
Cendrars and, 138;
Chinese, 26;
and dreams, 107-8, 100-10, 263-64n89;
Egyptian, 20, 108, 109, 264n89;
Griffith, 106-21, 190, 264n110;
Lindsay and, 93, 106-12, 263n87;
of nature, 106-13;
poetic, 120;
super-, 76, 110-11;
surrealists and, 166, 189-90;
Tynianov, 200, 201, 220
Hinduism, 22
Hiroshima mon amour (Resnais), 248
Histoire de l'oeil (Bataille), 170
Histoire et cinéma (Lagny), 8
Histoire naturelle (Péret), 171
L'Histoire philosophique du genre humain (d'Olivet), 21
history, 7-16, 246;
allegorical, 76;
art, 9, 55, 77-79, 85, 281n83;
cinema, 7-16, 57-58, 77-78, 80-81, 101, 120-21;
cultural, 8, 9, 79, 246-47;
diachronic, 8;
natural, 171-72;
surrealist, 172;
two histories, 117;
world, 147, 148.
See also evolution; origins; past; source; tradition
Hoffmann, E. T. A., 210, 211, 215, 218;
"Cousin's Corner Window," 261n29;
"Klein Zaches genannt Zinnober," 205-8, 249
Hogarth, William, 239
Hollywood, 99, 107
Holy Writ, 76, 94. See also Bible
Homer, 2, 234
Home, Sweet Home (Griffith), 55, 69-77, 94
"Home, Sweet Home" (Payne), 55, 69-74
Hommage à la danse (Léger), 160
homunculi, 235
Hood, Thomas, 262n49
Hoog, Michel, 268n57
Hors Cadre, 7
hotel, of death, 33-34
How Natives Think (Levy-Bruhl), 226
Hudnut, Joseph, 109
Hugnet, Georges, 162, 172
Hugo, Victor, 13, 15, 112-13;
Les Chátiments, 181-82;
"Le Feu de ciel," 13;
"Fonction du poete," 113;
La Légende des siècles, 115-16, 181;
Ruy Blas, 65. See also Les Contemplations
Le Huitième jour de la semaine (Ribemont-Dessaignes), 162
hymen, symbol, 23
"hyperacculturation," negative, 179
hyperinterpretants, 58
hyperquotation, 35, 159, 211, 251
"hypersign," 186
"hypertext," 80, 156
J
J'accuse (Gance), 130, 132
Jacob, Max, 128
Jacques le fatalists (Diderot), 65
J'ai tué (Cendrars), 144
Jakobson, Roman, 200
James, William, 92
Jeanne d'Arc (Delteil), 52
Jehovah, 25
Jenny, Laurent, 30, 36, 54
Jerusalem, 109
Le Jeu lugulm (Dali), 173
Jeune fille au crâne (Dali), 187
Jeune fills au paon (Louy), 14
Joan of Arc, 52, 183
Jouvet, Louis, 145, 146
Joyce, James, 45, 274n115
Judeo-Christian tradition, 80. See also Christianity; God; Kabbalah
Judith of Bethulia (Griffith), 93
jupiters, 165
K
Kabbalah, 24, 267n40
Kafka, Franz, 55, 78, 246
"Kafka's Precursors" (Borges), 55, 78
"kangaroo principle," 237
Karamzin, Nikolai, 223
Karamzina, E. A., 221-22, 223, 241
Keaton, Buster, 179
Keenan, R. C., 59, 78
Kerstmg, Friedrich, 212, 213, 214
key, 173
Kierkegaard, S., 55
Kingsley, Charles, 52, 99-100, 104-5
Das Kinodram (Goll), 145
Kirkwood, James, 59, 70
kitchen, Cendrars images, 153, 155, 249
Kiukhlia (Tynianov), 219
Klages, Ludwig, 233, 236
Klee, Paul, 239, 279n43
"Klein Zaches genannt Zinnober" (Hoffmann), 205-8, 249
"Kodak" (Cendrars), 129
Kozintsev, Grigorii, 194, 198
Kozlov, Leonid, 235
Krauss, Karl, 28-29
Krauss, Rosalind, 245-46
Kristeva, Julia, 17-18, 36
"Kubla Khan: Or, a Vision in a Dream" (Coleridge), 44-45, 47
Küchelbecker, Wilhelm, 219
Kuntzel, T., 29
Kurosawa, Akira, 202
L
labyrinth, 4, 46, 47
Lacemaker (Vermeer), 174-75, 177, 178, 179
Lady of Lyons: or, Love and Pride (Bulwer-Lytton), 65, 66
Lady of the Lake (Scott), 99
Lagny, Michèle, 8
Landscape with Disc (R. Delaunay), 268n57
Lang, A., 225
language:
Artaud and, 20-26;
"artistic," 9;
avant-garde and, 125-26, 127, 128, 161, 163, 190;
"beyond-sense," 198;
Browning and, 62, 63, 64-65, 69;
Cendrars and, 138-41, 146-47;
cradle of, 112;
evolution of, 262n32;
influence of, 9;
Locke's theory, 88;
metalanguage, 139, 253;
music and, 62-66, 74;
of nature, 62-64, 88-90, 106, 113;
nonverbal, 68-69, 127;
origins/pre-Babelic/primordial, 56, 113, 138, 156, 157, 225-26;
as overcoming incomprehension, 249-50;
"practical" into "poetic," 200;
Primary, 80;
"sign," 91;
speech mechanisms, 138-39;
Tower of Babel, 56, 87-88, 116;
translated into nonlinguistic, 64;
"trans-sense," 198, 199-201, 205, 245;
Tynianov and, 196-205;
and vision, 19-20, 25;
words "devoid of content," 196.
See also anagrams; cinematic language; hieroglyphs; images; literature; poetics; text
La Langue hebraïque restituée (d'Olivet), 24
Laplanche, Jean, 9
"Larme" (Rimbaud), 24
Larrea, Juan, 164
M
machine/mechanisms, 10, 138-39, 140-46, 154
MacMahon, Henry, 91
Magarill, S., 204
magical imitation, 224-25
"Magic Circles" (Goll), 267-68n40
magician, 107, 181, 232, 233, 236
magic shows, 102-3, 170
Magnus, Albertus, 253
Maiakovskii, V. V., 197
Maier-Meintshel, A., 74
La Main du Diable (Tourneur), 271n40
Malevich, Kasimir, 126
Mamaroneck studios, 132
Les Mamelles de Tirésias (Apollinaire), 3
Manifesto of Surrealism (Breton), 163
manifestos:
artistic, 26, 125, 126, 145;
of "paranoia-critique," 176-77, 185
mannerists, 227
"Man of the Crowd" (Poe), 90-91
Mantegna, Andrea, 179, 273n79
Manual Concepts (Cushing), 226
Man with a Movie Camera (Vertov), 126
Marché au Minho (S. Delaunay), 141
Marduk, 12
Marie, Michel, 270-71n6
marriage, alchemical, 23-24
Mars, 156
Martin, John, Belshazzar's Feast, 12-13, 14, 15
Marvellous Adventures of the Lacemaker and the Rhinoceros (Dali and Descharnes), 177
Mary, Virgin, 74
masking, 61, 75, 103, 179, 240-41. See also deception; misquotation; repression, source
"Master Hugues of Saxe-Gotha" (Browning), 62
mathematics, 178, 228, 229. See also geometry
Matthiessen, F. O., 96
"maturation" theory, 78
Maupassant, Guy de, 18-20
McClellan, George, 40
McCutcheon, Wallace, 103
McFarlane, James, 4
meaning, 250-51;
"already-said," 16;
anagrams and, 17, 18;
"apparent," 201;
avant-garde explication of, 126;
as "becoming," 90;
birth of, 30-31, 37;
centering, 38-39;
circle of, 118;
construction en abîme and, 37-38, 42, 46, 47;
creation of, 42-43;
decentering, 38-39;
duplication of, 37-38;
figural, 42-43;
general, 27;
"generalizing agent of," 226;
hieroglyphs and, 27, 28;
iconology of, 10-11;
"inner," 10-11;
interpretants and, 46;
inversion of, 36, 164, 174-75, 251;
line, 227;
literal, 42-43;
logic of, 36;
movement from concreteness to abstraction, 251;
new, 27;
photogram and, 29;
production of, 8-10;
quotation and, 29-31, 35-36, 250-51;
"secondary," 201;
"semblance of," 201;
and semiotics, 257n64;
surrealists and, 174, 178, 185, 190;
third, 29-30;
Tynianov and, 196, 201, 210, 220;
unitary, 42;
universal equivalences of, 221-43;
wavering/oscillating indicators of, 196-97, 201, 210, 212.
See also correspondences
mechanisms/machine, 10, 138-39, 140-46, 154
Méliès, George, 14, 15, 103, 170, 272n43
melodrama:
avant-garde cinema and, 133, 136;
classical, 102;
French, 179;
Griffith, 10, 56, 60, 67-68, 99-103;
unity-separation theme, 101-4
memory, 2-4, 252-53;
and culture, 2, 4, 9;
meaning and, 9;
mythology of, 1-2;
surrealists and, 176;
writing and, 8
Memphis, Tennessee, 109
Las menimas (Velázquez), 37
Menjou, Adolphe, 173, 176
La Mère et l'enfant (Léger), 155
Merlin, 181
Merritt, Russell, 56-57
"Le Message automatique" (Breton), 234
metalanguage, 139, 253
Die Metamorphose der Pflanzen (Goethe), 89
metamorphoses:
divine, 238-39;
Emerson, 90;
Griffith, 68, 86;
Joyce, 274n115;
surrealist, 170-73, 177-79, 188, 190, 245, 272n43, 273n79, 274n107.
See also evolution; transformation
N
Nadja (Breton), 169, 171
Naissance de désirs liquides (Dali), 185
Nakov, Andrei, 127
"Nameless Love" (Tynianov), 221, 224
narrative, 49-121, 118, 247-48, 250;
avant-garde, 125, 127-28, 161;
beyond, 123-90;
cinema-novel and status of, 85;
classical, 118, 125;
Dickens and, 84;
enigma and, 47;
frame and, 257n64;
functional approach and, 247;
Griffith and, 81, 84, 100-104, 119-21;
"normative," 30;
Tynianov and, 210, 220
narratology, 7
narrator, and demonstrator, 104
nature:
Browning poetry, 62, 63;
hieroglyphs of, 106-13;
language of, 62-64, 88-90, 106, 113;
metaphors from, 88, 90, 164;
music and, 62-64;
origins and, 81;
as primordial book, 88-90;
Renaissance and, 81;
sketches and, 227-28;
surrealist imagery, 171-72.
See also astronomy; bestiaries
Nature (Emerson), 89
La Nature chez elle (Cendrars), 129
necrophilia, 185-89, 223-24, 245
negation:
cinema as, 163;
of cinematic mimesis, 224;
complete, 36, 125;
drawing-text, 210;
surrealist, 163, 169, 178-79;
"symmetrical"/"partial," 36;
of visuality, 80.
See also destruction; inversion
negative "hyperacculturation," of avant-garde, 179
"negative" interpretants, 189, 190
"negative theology," 217
Negro Anthology (Cendrars), 151
Neoplatonism, 78
nervous system, 240
network, paragrammatic, 17
"nevermore," 105-6, 117
Nevskii Al'-manakh, 208
"Nevskii Prospekt" (Gogol), 215
New York Dramatic Mirror, 59
New York Times, 58
Nice, Vigo film, 18, 19
Die Niebelungen, 17
Nietzsche, F., 135
Nineteen Elastic Poems (R. Delaunay), 140
"nocturnal vision," 233-34, 235-36
nominatio rerum, 89
"no more," 105-6
"Non-Indifferent Nature" (Eisenstein), 232-33
nonverbal mode, 68-69, 127
normalization:
of anomalies, 30, 83, 101, 121, 125, 247;
quotation and, 79;
of surrealist texts, 167, 178-79, 189;
of transsensical word, 201
"Nose" (Gogol), 209-10, 214-15, 220, 278n87
noses, 214-15
novels, 85;
avant-garde and, 127, 128, 136, 137, 147;
detective, 232;
and Griffith films, 56, 83-84;
Tynianov, 196, 219;
Zola, 41-42, 60, 61
novelty. See innovation
numerology, Cendrars's, 270n105
O
"object-metaphors," 215
oblivion, 1-2
Observations on the Growth of the Mind (Reed), 88
ocean. See sea
"Ocean" (Cranch), 95
October (Eisenstein), 238, 248-49
Odysseus, 2
P
Painlevé, Lean, 272n50
painting, 10, 65, 90;
cave, 13, 231;
Chinese, 239;
"cinematizing," 80;
classical, 179;
construction en abîme, 36, 37-38, 40, 42;
Dali, 173, 176-77, 180, 185-86, 187;
Dutch, 74, 174-75;
Eisenstein and, 231, 234, 239;
Emerson on, 90, 91-92, 262n32;
frame and, 257n64;
Léger, 142-48, 155-56, 158, 160;
letter motif in, 74;
Mantegna, 179, 273n79;
"mediated" form, 62;
Pound and, 131;
Renaissance, 211;
Salvator Mundi genre, 44;
simultaneist, 140, 141, 143;
Vermeer, 174-79.
See also Delaunay, Robert
paleontology, 238
palimpsest, 209
pangraphism, 226-27
Panofsky, Erwin, 9, 10, 14, 226-27
paradigms:
anagrams and, 17;
Cendrars, 156;
ending, 7;
Léger, 159;
Lieutenant Kizhe and, 220;
surrealists and, 166, 171, 186, 189
paradox, 250;
labyrinth and, 46;
Lieutenant Kizhe, 214, 217;
quotation as, 79;
of similarity, 242;
and theater as theme, 73.
See also contradictions
paragrams, 17-18;
Artaud, 25;
Kristeva and, 17-18, 36;
and quotation, 28, 34;
Tynianov, 201, 220
parallel montage, 93-94, 97, 118-20, 197-98
"paranoia-critique," 176-77, 181, 185, 187
Paris par la Fenêtre (Léger), 142
Parker, Theodore, 88
parody, 43, 45;
"parodic individual," 211;
surrealist, 169, 173, 175-76, 181;
theory, 210;
Tynianov, 198, 205-20, 276n24
Parrot, Louis, 130
passion. See eroticism; love
past: quotation and, 28. See also history; tradition
Pastrone, Giovanni, 11, 15
Pater, Walter, 62
Pathé, 129
Paupières mûres (Fondane), 162, 168, 170
Payne, John Howard, 55, 69-74, 94
Peabody, Elizabeth, 88
peacock, 14
pearls, 172, 177-78, 181, 190, 273n75
"Peasants" (Chekhov), 197
Pechmeja, Ange, 24-25
Peirce, Charles Sanders, 42-43
Péret, Benjamin, 171-74, 182-84, 272n44, 274n102;
Histovre naturelle, 171;
Q
quotations, 26-35, 73, 82, 125-61, 248-52;
buried, 32;
Cendrars and, 138, 139, 146, 149, 159;
construction en abîme, 37-39;
defined, 31;
frame of, 257n64;
Griffith, 51-121;
as hieroglyphs, 26-28, 106-21, 166;
hyper-, 35, 159, 211, 251;
mis-, 51-53, 58, 80;
and present/past, 257n61;
repressed sources, 51-82, 85-121;
self-, 37, 60;
surrealists and, 166, 167, 190;
Tynianov, 198, 201, 204-7, 211;
visions like, 104;
"warehouse of," 125.
See also intertextuality theory
R
Racine, Jean, 41
Le Rail (Hamp), 133-34
Ramsaye, Terry, 111
Ray, Man, 162, 172
razor, 163-64, 168, 179
reader, eliminating, 78
reading, 3, 16, 246, 253;
author's "act of," 54-55;
avant-garde, 125, 126;
and "cinematism," 78;
intertextual, 30, 33, 55;
motif, 74;
new (pervochteniia), 81;
and quotation, 51, 52-55, 251-52;
rereading (perechteniia), 81;
surrealists and, 163, 176, 188;
theory of, 253.
See also text
Reading (Léger), 158
"ready-made object," 142
realism, 81-82, 127, 281n83;
"savage," 225
reality, 80, 81-82;
Artaud's eternal and infinite, 186;
Cendrars, 137;
film imitating, 224;
urban, 261n29;
"virtual," 149;
wheel-cinema, 135.
See also truth
rebirth, butterfly and, 172
rebus, 126, 160
Recherche (Proust), 175
Reed, Sampson, 88-89
references, 76, 165, 179, 190. See also intertextuality theory; quotations
reflections, 216, 220;
multiple, 216;
proportion as, 228.
See also mirrors
Rejet de la nature (Bataille), 188
Reliance Majestic and Mutual production companies, 69-70
religion:
Hindu, 22;
and perpetuum mobile, 137-38;
Rig Veda, 16;
Rosicruciani 76;
S
sacrifice, 59, 170
Sadoul, Georges, 20, 132
St. Sebastian (Mantegna), 179
Salammbá, 11
Salomé, 59
Sands of Dee (Griffith), 52, 99-102, 104-6, 108, 120
Sandunov Baths (Tynianov), 195
San Francisco, 109
Sang du poète (Cocteau), 267n40
Satie, Eric, 266n30, 272n50
Saussure, Ferdinand de, 16-18
Savannah-la-mar, 114
Schapiro, Meyer, 257n64
scheme, Eisenstein and, 228-29, 236-43
Scherman, Raphael, 233, 236
Schickel, Richard, 69-70, 93, 94
Schlesinger, Arthur, 109
Schmalenbach, Werner, 142, 158
Scott, Walter, 99
screenplays:
Léger rejecting, 127-28;
surrealists and, 162-63.
See also cinema
sculpture, 65, 90, 91-92, 238, 262n32
sea, 75, 91-118;
city and, 114-16, 265n127;
as cradle, 112-14, 117-18;
and death, 105-6, 112, 265-127;
shoreline, 96-98, 105, 107;
surrealist, 172, 272n50, 273n75;
waves, 100, 101, 117
"Sea Dreams" (Tennyson), 115
"Sea of Death" (Hood), 262n49
sea urchin, 172-73
seeing, 2, 4, 118-19. See also blindness; eyes; sight; vision
T
tableaux vivants, 41-42, 103
taboo, direct "iconic" gaze, 217
tabula rasa, 149-50. See also destruction
technologies:
film, 130-31, 147;
language development and industrial, 138;
study of new, 7.
See also machine/mechanisms
teeth, pianos and, 187, 274nn114, 115
"Tell-Tale Heart" (Poe), 86, 107
Tempest (Shakespeare), 178
Tennyson, Alfred Lord, 85, 87, 105, 106, 248;
Enoch Arden, 52, 84, 93-95, 98, 105;
"Sea Dreams," 115
La Tentation de Saint Antoine (Flaubert), 181
Tess of the D'Urbervilles, 56
text:
"absolute," 20;
anagram and, 16-17, 19-20;
architext, 85;
authority, 80-81;
avant-garde, 125;
body, 233, 236, 237, 240;
Book and, 80;
centering, 36;
cinema history as, 7-16;
external/"internal" elements, 16-17;
film as, 29;
genesis of, 151;
hieroglyphs and, 27-28;
"hypo-," 208;
U
Uccello, un poil (Artaud), 170
ugliness, human, 18-19, 67-68
Ulysses (Joyce), 45, 274n115
Unchanging Sea (Griffith), 52, 93, 99, 104
Uncle Tom's Cabin (Porter), 103
unconscious, 167
underwater, 114-16, 120
Undine (de la Motte Fouquet), 99
"unfamiliarity," 200
Unitarians, 88
unity, 2, 21-24, 100-104
universality:
cradle and, 113;
equivalent, 221-43;
of intertextuality theory, 253;
language, 55-56, 66-67, 69, 87-89, 97-99, 105, 116, 120;
symbolic lexicon, 68.
See also world
univocality, 42
unprecedented, 81
Upanishads, 22
urban life. See city
Les Ursulines, 20
utopia:
Artaud, 20;
avant-garde, 126, 128, 149;
Gómez's literary film, 165;
social, 56;
Transcendentalist, 90
V
Vache spectrale (Dali), 180
"vague incertitude," Lieutenant Kizhe, 201, 213
vampires, 34, 53
Vampyr (Dreyer), 32-35, 47, 52-53, 247, 251
Van Dyck, Anthony, 234
Vanoye, Francois, 130
"Variations sur le thème des moustaches de Menjoy" (Buñuel), 173
Vasari, Giorgio, 227, 228
Velázquez, Diego, 37
Vendryes, Joseph, 138
"La Ventre de ma mère" (Cendrars), 148
La Venus Noire (Cendrars), 130
Vermeer, Jan, 174-79
Vernet, Marc, 40
"Vertical Montage" (Eisenstein), 229, 230
Vertov, Dziga, 126
Vienna school, of art history, 9
View of Delft (Vermeer), 175, 176
Vigo, Jean, 18-20, 248, 271n40
Villiers de l'Isle-Adam, 97-98
Vinogradov, Viktor, 210
Virgil, 28, 32-35, 47
Virgin Mary, 74
"virtual reality," 149
Vishnu, 22
visible text, 3, 118-19. See also invisible text; visuality; visual representation
vision, 2-4;
and consciousness, 19;
corresponding, 105;
distorted, 216;
hearing vs., 77, 100, 230, 234-35;
and language, 19-20, 25;
motifs of, 44, 94-100;
"nocturnal," 233-34, 235-36;
staring emptily to right of camera, 72;
visible vs. visionary, 118-19.
See also blindness; eyes; reflections; seeing; seers; sight; visionary scenes; visuality
"Visionary Cinema of Romantic Poetry" (Bloom), 79-80
visionary scenes, 94-95, 102-4, 106-14, 117, 118-19. See also hallucinations; prophecy
"Vision of Sudden Death" (De Quincey), 98
visuality:
negation of, 80;
pure, 26
visual representation: avant-garde and, 126;
Eisenstein and, 228, 229;
and language, 90;
memory treatises and, 252;
of music, 229.
See also art; cinema; iconography; illustrations; painting; visible text
vitality:
contrast and, 141.
See also life
Voice of the Violin (Griffith), 67
Voloshin, Maksimilian, 238, 281n83
vorticism, 26, 266n21
"Le Voyage" (Baudelaire), 13-14
W
Walden (Thoreau), 96
Walthall, Henry, 59, 69, 70
war, 73, 148
Warburton, W., 263-64n89
Waste Land (Eliot), 3, 178
water, 27, 263n56;
Artaud, 25;
De Quincey, 95, 114, 262n49;
Léger, 152;
as mirror, 94-96, 98, 114, 262n49;
movement of, 90, 91, 92;
surrealist, 172;
Transcendentalist, 92, 94-98;
under-, 114-16, 120;
waves, 100, 101, 117.
See also sea
Watt, James, 234
waves, 100, 101, 117
X
x-ray:
artistic, 237, 240, 243;
experiments, 238
Y
Y a des punaises dans le rôti de porc (Desnos), 162
Yates, Frances, 252
"Young Vitushishnikov" (Tynianov), 195-96, 216
Z
Zanoni (Bulwer-Lytton), 66, 68, 76
Zeno, 55
Zéro de conduite (Vigo), 248
Zeuxis, 252
Zola, Émile, 41-42, 60, 68
Zorkaia, Neia, 194
Zoroastrianism, 24