1. R u s s i a n A v a n t – g a r d e l i t e r a t u r e Lecture 5

2. Montage - Related Literature S. Eisenstein: Film Form / Film Sense. L. Kuleshov: Fifty years in Film / Kuleshov on Film D. Vertov: Kino-eye: The Writings of Dziga Vertov V. Pudovkin: Film Technique and Film Acting M. Tupitsyn: Gustav Klutsis and Valentina Kulagina: Photography and montage after Constructivism. 2004. D. Ades: Photomontage. 1996 B. Buchloch: ”From Faktura to Factography” // October, 30/1984. M. Teitelbaum (toim.): Montage and Modern life 1919-1942. 1992. P.A. Sitney: Modernist montage: Obscurity of Vision in Cinema and Literature. 1996. J. Dunne & P. Quigley (toim.): The Montage Principle: Eisenstein in new cultural and critical contexts. 2004.

3. Montage in Russian Semiotics of Culture Not an explicit concept, requires reconstructing Eisenstein source for many Phenomenon of early Soviet culture, becomes a part of a universal cultural theory (Iurii Lotman’s school of semiotics) Viachesliav Ivanov: History of Soviet Semiotics (Eisenstein and Bakhtin  intellectual montage and polyphony) Lotman: Structure of the Artistic Text Lotman: Semiotics of Cinema Lotman & Tsivian: Dialogue with the Screen Tsivian: Historical Response of Cinema R. Timenchik: Montage Processes in Poetic Texts Iurii Levin: Montage in Poetry B. Uspenskii: Montage and Perspective in Literature Lotman: Montage and Rhetorics; Intertextuality A. Zholkovskii: post-Eisensteinian theory  Poetics of Expressiveness

4. description 1 description 2 Image From a juxtaposition of two descriptions emerges a new quality (=an image) in reader’s (recipient’s) mind, a synthetic meaning, which cannot be returned back to any of the juxtaposed descriptions as such. ≠ sum, but a product(ion) (произведение) Is Catalogue of Images a montage poem? ”emergence” / predication Montage Metaphor ”third”

5. Author Image, idea description 1 description 2 description 3 Text Reader fragmentation integration Image, idea Sergei Eisenstein: Communication of a processual artistic text

6. Montage in Cinema Lev Kuleshov: experiments –”Kuleshov effect” –Juxtaposition in film –Created man  Montage man (1921) –Syntactic montage Vsevolod Pudovkin –Narrative montage –metonymy and close-up –”Mother” (1926) Sergei Eisenstein –Montage of attractions 1923; reader as material, agitation and propaganda –Intellectual – emotional – psychological stimulus –Conflictuous montage (”Strike”, 1925; Octobre, 1927, Potëmkin) Dziga Vertov: ”Man With the Movie Camera” (1929): –Rhetorical montage –Kino-eye, kino-reality, kino-man

7. You tube links for Montage lecture Lev Kuleshov effect: http://www.youtube.com/watch?v=EmNzE_J-rpY&feature=related Vsevolod Pudovkin: Mother (1926) (7:10 – 9:25) http://www.youtube.com/watch?v=TOy7lo3DnSU&feature=related Sergei Eisenstein: October (1927) http://www.youtube.com/watch?v=hkrdS0wwOmk&feature=PlayList&p=CC1 54AE0B8A8453B&index=3http://www.youtube.com/watch?v=hkrdS0wwOmk&feature=PlayList&p=CC1 54AE0B8A8453B&index=3 (1:10 – 2:10) Dziga Vertov: Man With The Movie Camera (1929) (3:00 – 7:00) http://www.youtube.com/watch?v=4Czju8y4XEg&feature=PlayList&p=55D B50633465E711&index=2

8. Montage and a-g literature Prose and poetry in the mid-1920s –Tynianov –Utilitarism and factography Maiakovskii: Pro Eto (1923) Acmeists and verbless poetry Imaginist Montage –Shershenevich: montage of nouns (catalogue of images) –Esenin: technical montage (image machine) –Mariengof: conflictious montage (image chain) Montage prose (new genre  collection of materials [factography]) –Homogeneous and heterogeneous montage –Biographies of the late 1920s – early 1930s –Mariengof: Cynics (1928, Zyniker in Germ.) –Döblin: Berlin Alexanderplatz –Dos Passos: U.S.A. Trilogy; Manhattan Transfer

9. Hannah Höch: Da Dandy (1919)

10. Kurt Schwitters: Untitled (Assemblage on hand mirror, 1920-22)

11. John Heartfield: Adolf Superman swallows gold and spouts rubbish (1932)

12. Gustav Klutsis: Dynamic City (1919)

16. Gustav Klutsis: Electrification of the Entire Country (1920)

19. V. Maiakovskii’s long poem Pro Eto (On This, 1923), illustrated by A. Rodchenko The poem was dedicated to Lili Brik, whose portrait was ”monumentalised” for the cover Simple photomontage of elements with explicit contrasts

20. Aleksandr Rodchenko

25. El Lissitzky