Sensing the film's sense: the embodied dimensión of visual composition in the theory of Serguéi M. Eisenstein
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Published
12-06-2017
Víctor Aertsen
http://orcid.org/0000-0002-3946-7519
Abstract
Establishing attentional trajectories through their visual compositions, films can move their viewers, eliciting certain kinesthetic experiences in their bodies. But few authors have thought about it until now. This text tries to rescue the reflections of Sergei M. Eisenstein on this expressive possibility of the cinematographic medium. Reflections rarely mentioned as a seminal part of his theoretical legacy, given their dispersion throughout his writings, but which are revealing to understand an aesthetic dimension of cinematographic art that starts to penetrate the research agenda of cognitive and phenomenological film theorists.
How to Cite
Aertsen, V. (2017). Sensing the film’s sense: the embodied dimensión of visual composition in the theory of Serguéi M. Eisenstein. ZER - Journal of Communication Studies, 22(42). https://doi.org/10.1387/zer.17817
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References
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Bordwell, D. (1999). El cine de Eisenstein. Teoría y práctica. Barcelona: Paidós.
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Eisenstein, S. M. (2001). Hacia una teoría del montaje. Barcelona: Paidós.
Eisenstein, S. M. (2002). Teoría y técnica cinematográficas. Madrid: Rialp.
Eisenstein, S. M. (2014). El Greco, cineasta. Barcelona: Intermedio.
Eisenstein, S. M. y Tretyakov, S. (1979). Expressive Movement. Millennium Film Journal, 3, 30-38.
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Hodsdon, B. (1992). The mystique of mise en scene revisited. Continuum: The Australian Journal of Media & Culture, 5 (2). Recuperado de http://wwwmcc.murdoch.edu.au/readingroom/5.2/Hodsdon.html [Consultado: 30-3-2017]. doi:10.1080/10304319209388229
Martin, A. (2014). Mise en Scène and Film Style: From Classical Hollywood to New Media Art. Hampshire: Palgrave Macmillan. doi:10.1057/9781137269959
Merleau-Ponty, M. (1993). Fenomenología de la percepción. Barcelona: Planeta-Agostini.
Mital, P. K., Smith, T. J., Hill, R. L., y Henderson, J. M. (2011). Clustering of gaze during dynamic scene viewing is predicted by motion. Cognitive Computation, 3 (1), 5-24. doi:10.1007/s12559-010-9074-z
Mitry, J. (2002). Estética y Psicología del Cine (1. Las Estructuras). Madrid: Siglo XXI.
Nöe, A. (2004). Action in Perception. Cambridge: The MIT Press.
O'Pray, M. (2003). Avant-garde Film: Forms, Themes and Passions. London: Wallflower Press.
Shaviro, S. (1993). The Cinematic Body. Minneapolis: University of Minnesota Press.
Smith, T. J. (2014). Audiovisual correspondences in Sergei Eisenstein's Alexander Nevsky: a case study in viewer attention. En T. Nannicelli y P. Taberham (eds.), Cognitive Media Theory (AFI Film Reader) (pp. 85-104). London: Routledge.
Smith, T. J. (2013). Watching You Watch Movies: Using Eye Tracking to Inform Cognitive Film Theory. En A. P. Shimamura (ed.), Psychocinematics (pp. 165-191). New York: Oxford University Press. doi:10.1093/acprof:oso/9780199862139.003.0009
Sobchack, V. (2004). Carnal Thoughts: Embodiment and Moving Image Culture. Berkeley; Los Angeles; London: University of California Press.
Sobchack, V. (1992). The Address of the Eye. A Phenomenology of Film Experience. Princeton, New Jersey: Princeton University Press.
Turvey, M. (2011). The Filming of Modern Life. European Avant-Garde Film of the 1920s. Cambridge: The MIT Press.
Barker, J. M. (2009). The Tactile Eye: Touch and the Cinematic Experience. Berkeley: University of California Press.
Bellour, R. (2013). El cuerpo del cine: hipnosis, emociones, animalidades. Santander: Shangrila Textos Aparte.
Bordwell, D. (1980). The Musical Analogy. Yale French Studies, 60, 141-156. doi:10.2307/2930009
Bordwell, D. (1999). El cine de Eisenstein. Teoría y práctica. Barcelona: Paidós.
Bordwell, D. (2000). Planet Hong Kong. Popular Cinema and the Art of Entertainment. Cambridge: Harvard University Press.
Bordwell, D. y Thompson, K. (1995). El arte cinematográfico: una introducción. Barcelona: Paidós.
Carroll, N. (2008). The Philosophy of Motion Pictures. Malden: Blackwell Publishing.
Eisenstein, S. M. (1986). El sentido del filme. México: Siglo veintiuno.
Eisenstein, S. M. (1987). "Piranesi, or The Fluidity of Forms". En M. Tafuri, The Sphere and the Labyrinth. Avant-Gardes and Architecture from Piranesi to the 1970s. Camdridge: The MIT Press, pp. 65-91.
Eisenstein, S. M. (2001). Hacia una teoría del montaje. Barcelona: Paidós.
Eisenstein, S. M. (2002). Teoría y técnica cinematográficas. Madrid: Rialp.
Eisenstein, S. M. (2014). El Greco, cineasta. Barcelona: Intermedio.
Eisenstein, S. M. y Tretyakov, S. (1979). Expressive Movement. Millennium Film Journal, 3, 30-38.
Grodal, T. (2009). Embodied Visions. Evolution, Emotion, Culture, and Film. Oxford: Oxford University Press.
Hodsdon, B. (1992). The mystique of mise en scene revisited. Continuum: The Australian Journal of Media & Culture, 5 (2). Recuperado de http://wwwmcc.murdoch.edu.au/readingroom/5.2/Hodsdon.html [Consultado: 30-3-2017]. doi:10.1080/10304319209388229
Martin, A. (2014). Mise en Scène and Film Style: From Classical Hollywood to New Media Art. Hampshire: Palgrave Macmillan. doi:10.1057/9781137269959
Merleau-Ponty, M. (1993). Fenomenología de la percepción. Barcelona: Planeta-Agostini.
Mital, P. K., Smith, T. J., Hill, R. L., y Henderson, J. M. (2011). Clustering of gaze during dynamic scene viewing is predicted by motion. Cognitive Computation, 3 (1), 5-24. doi:10.1007/s12559-010-9074-z
Mitry, J. (2002). Estética y Psicología del Cine (1. Las Estructuras). Madrid: Siglo XXI.
Nöe, A. (2004). Action in Perception. Cambridge: The MIT Press.
O'Pray, M. (2003). Avant-garde Film: Forms, Themes and Passions. London: Wallflower Press.
Shaviro, S. (1993). The Cinematic Body. Minneapolis: University of Minnesota Press.
Smith, T. J. (2014). Audiovisual correspondences in Sergei Eisenstein's Alexander Nevsky: a case study in viewer attention. En T. Nannicelli y P. Taberham (eds.), Cognitive Media Theory (AFI Film Reader) (pp. 85-104). London: Routledge.
Smith, T. J. (2013). Watching You Watch Movies: Using Eye Tracking to Inform Cognitive Film Theory. En A. P. Shimamura (ed.), Psychocinematics (pp. 165-191). New York: Oxford University Press. doi:10.1093/acprof:oso/9780199862139.003.0009
Sobchack, V. (2004). Carnal Thoughts: Embodiment and Moving Image Culture. Berkeley; Los Angeles; London: University of California Press.
Sobchack, V. (1992). The Address of the Eye. A Phenomenology of Film Experience. Princeton, New Jersey: Princeton University Press.
Turvey, M. (2011). The Filming of Modern Life. European Avant-Garde Film of the 1920s. Cambridge: The MIT Press.
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