Digital culture is all much simpler, another thing is that here, of course, it is important how a person approaches this, because there may be some distortions, in general quite ridiculous, and we know how some of the filmmakers turn to this history could have turned this inside out. Another thing is that this material, as a result, exists in this way, like a film from einstein, exactly the material, these frames that we see, they move from film to film, like quotes, like quotes from poetry, in general, in one place arises in another place. They also arise as certain aphorisms, and one way or another we can get acquainted with them from alexandrovs assembly according to oleg kovalovs editing version of the film that mary seaton once made in america in the late thirties, finally, based on this presentation by jay leidy, in general, in its various guises this film continues to live, but it seems to me that it is also important that esenstein was inspired to write it to a greater extent by this foreign trip from. He to a greater extent began to work with texts, and here not only his important theoretical book was born, a method that is generally as basic as he himself defined it, but such a ground of problems, that is, the support that for his theory, yes, on the other hand , when at the end of his life he will write memoirs, just a wonderful literary work, which, i think, our viewers, if anyone has not read, will read with pleasure. And this book is not structured like an ordinary memoir, where a person describes his life sequentially , it is dedicated to only two periods, childhood, when he accumulated impressions in general, such a story of accumulation of impressions, this is the story of how a person learned to think in images, and it is told absolutely vividly , laconically in short individual phrases, on the other hand, a foreign trip, the Second Period of accumulation of impressions, it turns out, what can we actually take from oizenstein, not only from the finished study of him, but also from what he just conceived, from what he outlined, and when they say, thats actually why everyone was rushing around isenstein so much, why was he so interesting, why was everyone jumping around him, why was he invited everywhere, and why is he so important, why is he so important now, what did he teach us, but its very difficult to answer, because well, editing, editing before him, editing after, yes, he has very important editing techniques showed. But this is not the only thing, yes, he talked about sound, yes, he looked at color, yes, he spoke about culture, how different layers of consciousness are combined there, but he is Something Like newton, who, uh, invented, didnt invent, expressed, yes, expressed, there is gravity, there is the law of universal gravitation, and we simply continue to exist in this world, physically, simply, we dont think, oh, newton came up with why this is important, he just set the parameters in which. We we are really present, for me isenshtein is a person who has reassembled so much cinematography, how we understand a work of art, how we create it, if we say, we talk about why watch the film viva mexico now, then my answer would be in order to understand how something is created, yes, how can it not be fully created, how can it then exist on its own, how on this journey we see, well, we see mexico, lets say, yes, ethnography, we see not just what it is, we see it through certain eyes, we we see her through the eyes of tise and through the eyes of esenstein, when the film it wasnt yet edited, when people saw other peoples edited versions, they said, but its all the same, we understand that this is ezenstein, because we see how the shots are constructed, it cant be anyone else, it shows her work. No matter how it is edited, we see the world through the eyes of these people, and we can, at this stage, of a halffinished film. Edited later, somehow penetrate into the workshop, into the kitchen, this is, in general, just incompleteness , but we know from einstein from texts, from photographs, from memoirs about him and we know what a living figure he is, in fact, when we see that this material has not yet been edited by esenstein himself, and despite the fact that it will never be edited by esenstein himself, unfortunately, but nevertheless we all the time we seem to be present next to him, that is, by doing so we find ourselves truly involved in his laboratory, in his creative process, and this is probably the most interesting thing in this case, this was the ezenstein 125 podcast, film historian natalya ryavchikova