Dip it. Valery kuznetsov, andrey vetrov, shemil fabrikov, ksenia ugaroova and natalya moshtakova, channel one, gulf of finland, leningrad region. And thats all, see you later. Yes, he communicates with the stars, and at the same time, yes, he communicates with. Chaplin becomes almost his best friend in hollywood, but he doesnt have some kind of intellectual group around him, like there was in moscow, with whom he could communicate, but its somehow already difficult with grisha alexandrov, someone who who he considers hollywood intellectuals is not there at this moment, he communicates there with german emigrants , he communicates there with greta garba, he communicates there with marlene dietrich, yes, but there are no people around him who would somehow support him emotionally, save him , as it seems at first glance, his acquaintance with another writer, a major upton sinclair, and who proposes to make a film about mexico, and offers himself as the creator of a fund that would raise m
Because editing is, in a sense, a thing of the past. That is, he was so keen on editing, but here he did not come up with any editing techniques in advance, and here he immediately built it under some of his own associative transitions, we can see how different eras are combined as a transition, for example, such an eccentric solution, this is beyond the dead at the end of this plan. Here we see how he takes off his masks, negative heroes, there are skeletons, positive heroes take off their masks and there are living laughing faces, this is the same opposition between the living human principle and some kind of terrible suppressive machine that runs through all of his work, which we see potemkin, which we will later see in nevsky, in general, here the structure is rather not so much a framewise montage as a montage of certain such short stories. In particular, we can probably watch the prologue of the film, when it shows, in general, the image of eternity, these eternal stones and peop
The psychology of the viewer, about the psychology. Of the artist, how this contact with the material is created, how this contact with the material is created, it is here that one of the most important of his later books begins to take shape, the method and adjacent to the caring nature, they originated, in general, these thoughts originated, which are now so valuable, and which is now being studied by cultural scientists and psychologists all over the world, precisely in mexico, because mexico gave him some kind of impulse to rethink his life in general, and because there was time, they arrived for a year and a half, sat there, wrote off some of their ideas for the script to sinclair, again, then alexander would suggest organizing it all around some song, otherwise its the rainy season, then theyre going, suddenly there was an earthquake in ohaka, theyre going quickly film a chronicle, so they drive around, get drunk, study, this is necessary, this is important, and eisenstein was ab
Here. The main director, the author of bronyolos potemkin, is wandering around somewhere, hes in mexico , in mexico, by the way, tratskytyn has to to return without finishing filming, in fact, this composition of several short stories about different states of mexico, lets say, should have ended with a short story about a woman, a soldier, who follows first one revolutionary army, then another, there is sopata, villa, and so on , but as a result, this novella was supposed to be a kind of novella. The image of mexico as a whole, through this woman , called soldadera, she was not filmed, in general, without completing the filming of the film, without editing it in any way, from the einsteins goes to moscow, in moscow he hopes that they will send him the material, because in general , he assumed, here in general they dont mind that they will send it to him, he will edit it in moscow, then the rights will be inside the iron curtain, inside the soviet union, the rights to distribute the fil
Union. Where aleksandrov, the only surviving member of tises film crew at that time, died ten years earlier in the seventies, aleksandrov was editing his option, in general, of course, it may not be an ideal reconstruction, but at least he himself appears there in the frame, and this is such a comment, on the one hand, this seems to be alexandrovs memory of the trip, on the other hand, his a story about the film, by the way, we can look at the already elderly alexandrov looking at the material. Actually, yes, of course, this is how grigory vasilyevichs fate unfolded, he started with esenstein with ezenstein he finished his work, but it seems to me that the image i also need to mention it, because he goes through this story in a very interesting way; in fact, he started in new york. But then he listened to esensteins lecture in america and realized that he needed to study with esenstein. Esenstein went to mexico, returned to moscow, and leida arrived there and entered that workshop, whi