Chapters in this book

1. Frontmatter 1
2. Table of Contents 5
3. Acknowledgements 7
4. Editorial Criteria 9
5. Foreword 13
6. Cinema as “Dynamic Mummification,” History as Montage: Eisenstein’s Media Archaeology 19
7. Part One. Notes for a General History of Cinema
8. 1. The Heir 108
9. 2. Dynamic Mummification: Notes for a General History of Cinema 119
10. 3. Revelation in Storm and Thunder 207
11. 4. In Praise of the Cine-chronicle 225
12. 5. The Place of Cinema in the General System of the History of the Art 241
13. 6. Pioneers and Innovators 247
14. Part Two. Essays
15. 1. What Renders Daumier’s Art so Cinematic for Eisenstein? 255
16. 2. “The Heritage We Renounce”: Eisenstein in Historio-graphy 267
17. 3. The Notes for a General History of Cinema and the Dialectic of the Eisensteinian Image 289
18. 4. Act Now!, or For an Untimely Eisenstein 299
19. 5. Pathos and Praxis (Eisenstein versus Barthes) 309
20. 6. Eisenstein’s Absolutely Wonderful, Totally Impossible Project 323
21. 7. Dynamic Typicality 333
22. 8. Archaeology vs. Paleontology: A Note on Eisenstein’s Notes for a General History of Cinema 347
23. 9. Point – Pathos – Totality 357
24. 10. Distant Echoes 373
25. 11. “Synthesis” of the Arts or “Friendly Cooperation” between the Arts? The General History of Cinema According to Eisenstein 385
26. 12. Eisenstein’s Mummy Complex: Temporality, Trauma, and a Distinction in Eisenstein’s Notes for a General History of Cinema 393
27. 13. Sergei Eisenstein and the Soviet Models for the Study of Cinema, 1920s-1940s 405
28. Bibliography 415
29. Notes 429
30. Index of names 525
31. Contributors 541