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 people eternally making their way along them. The inhabitants of the land of sacred ruins and huge pyramids still retain the character and form of their ancestors. Among pagan temples, sacred cities, in the kingdom of death, where the past still dominates. In the present, human faces are similar to those that they are carved from stone, for stone figures are an image of ancestors, mexicans, as a symbol reminiscent of the past, a funeral rite among dead monuments of the past, an image of complete enslavement before the idea of death, the biological, physical end of man. It seems to me that what is important here is not only how he sees, combines, everything, the whole. The history of mexico in these rituals, in these landscapes and so on, it is also important here, this attention to art, yes, here we are talking about ancient art, but modern art around isenstein mexican art, there are the same avantgarde artists, and he communicates, cannot help but communicate, naturally, with david siqueires, with diego riveiro, with frida colo, he revolves in this, he spins in this, he cooks in this, and this of course is his too nourishes, but there were no such people in hollywood. Or he didnt feel, yes, he didnt see them around him, because maybe they were in new york, in mexico they were getting closer, everyone knew each other, and he was also present in this, and of course, he didnt feel very i want to come back, already at sinclairs money is running out, then he makes, it seems to me, not a very smart move, he writes to moscow, to the state data, trying to demand money, his royalties for translations of his works, and then the story begins to unfold, when suddenly, well, maybe not suddenly, but at the next moment they remember that the main director, author, armored potemkin is wandering around somewhere, he is in mexico, in mexico , by the way, the actors have to return without finishing filming. This composition of several short stories about different states of mexico, lets say, should have end with a short story about a woman, a soldier, who goes first for one revolutionary army, then for another, there is a sopata, villa and so on, but as a result this novella was supposed to be a kind of short story about the image of mexico as a whole, through this woman, the short story called the soldier , it was not filmed, in general, without completing the filming of the film, without editing it in any way, she goes from einstein to moscow. In moscow he hopes that they will send him material, because in general, he assumed, and here in general he does not mind that they will send him, he will edit in moscow, then the rights will be inside the iron curtain within the soviet union, the rights to distribute the film will be with soviet official government bodies, and throughout the rest of the world, where there is great interest in ezensteins work and there is commercial potential. Sinclair and he will have the rights in this way he will return the money that he invested, that he collected, but singler does not believe it and does not agree to send the material, and decides to return the money by screening pieces of this material in america, giving it to other editors, at the beginning in the thirties, two fulllength short films were created, at the end of the thirties a whole series of short films, though in the end. Such a journalist, a lady near kinin, will make her version, in general, well, at least she at least somehow knew the idea, so her version in general then the editing one is not the worst, that is, if you were an independent or semiindependent director in the thirties, you could afford to buy a little footage from einstein and edit something there yourself, the easiest way, of course, was to use the short story where the plot of the short story magey was worked out, yes here she is. We have it, we can take a look too. They forgot about maria, the inexperienced girl does not know what her fate is. Actually, the tragedy that awaits is that everyone could edit it, except isenshtein, it was such a system, they film it, they send it to los angeles, they have their own man in the laboratory, whom tise trusts, a russian, who shows it, as needed, he sends them the material, they see it all, but they cant do anything about it, ezenstein saw almost all the material, but couldnt sponsor anything being in mexi before he, he looked a little more in new york and even showed it. By the way, he wrote this down in his diary, but then he goes to the soviet union absolutely expecting that the film will follow him and that he will finish it; for a person who created previous films in the editing room, its almost physical pain to not finish it, and we we know about this from memoirs, and from people with whom he later communicated, or he writes in his diary, as soon as he arrived, this. Spring, summer of 32, he writes in diaries, shklovsky talked about how shot himself, mayakovsky, this was back in 1930, yes, noshtein seemed to have missed it, they only told him in letters, mayakovsky shot himself because he called on the phone, wanted to talk to someone, no one answered, it seems esenstein writes down, then he writes, a pregnant cat is dying in the kitchen, he cannot give birth to kittens, it seems that, in general, for him. This trauma, it was not resolved in any way, since he was never able to access this material until the end of his life , at the end of his life, by the way, he outlined, in 1947, he wrote how the film could be structured, given that the last short story was not filmed, how to structure it differently, and in the fifties there was no longer a zhivozenshtein in america, the museum of modern art in new york, jay leida, a man who started out as an avantgarde director in america. Who came to the soviet union, taught soizenstein and returned to the usa, there he propagated soviet culture, not so much even propagating it, but actually studying it in a serious sense, that is, he it popularized. And wrote books about soviet cinema, and he just collects all the material, it goes to the museum of art in new york, and leida builds Something Like what we would now call a presentation, that is, individual frames with explanations, what kind of shot is this, but for about eight hours, well, less, after all, and he comes to the soviet union in the late fifties, its already thawed, so he can come, and he shows a movie in the house in vgik with his comments, everyone understands that this is not a legend that movie was filmed and that something needs to be done about it, in general, after this negotiations begin, and the museum of modern art in new york makes a copy for itself, and leaves it, and transfers the original, the negative itself, to the soviet union, where alexandrov, the only surviving member of tises film crew at that time, died ten years earlier in the seventies. Alexandrov edits his version, in general, of course , maybe this is not an ideal reconstruction, but at least he himself is there appears 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, and his 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 turned out in a mirror image, he started with esenstein and esenstein he ended his creative career, but it seems to me that the images also need to be mentioned, because he very interestingly goes through this story with a dotted line, in fact, he started out in new york, but then he listened to esensteins lecture in america and realized that he needed to study with esenstein, ezenstein went to mexico, returned to moscow and leida came there. Entered that workshop, which actually became the main one for isenstein, and with the help of teaching, he, in general, came out of this drama, even the tragedy with mexico, we have a memory of the same leida, how he was such a boy who came from a completely different culture, he says sergei mikhailovich, and what are you teaching all this, dont make a new film, according to his later words, he grabbed his stomach and said, how can i give life a new film if i havent given birth to the previous one yet . And leida writes down what a fool i was, that i reminded him of this at all , and for leida it was also such a living connection, yes, and he completed a course with the master, but he did not stay in the soviet union, did not become a director, returned, and then he not only accumulated information there, he translated the text of isenstein into english, he was the person who published isensteins first book, what isenstein wanted to do for so long, he even went to europe with a draft of the book, he wanted even then in that year to release it, but it didnt work out, it didnt work out, it didnt work out, another new book, not here 129th, yes, a new film, in general, its very interesting that this image that he brought up in a conversation with leida, hes like this very biological in some sense, and this biological principle in a person , which is also very important, isenstein discovered in mexico, in many ways, so his first short story was supposed to be devoted to just such a natural sense of self in a person, in general. I must say that i am optimistic, the only thing in the situation with material this is that it lives and from it many people, then they edited different ones, there may be options, for example, film director oleg kovalov in 1998 edited sergei zinshteins film mexican fantasy this is its own interpretation of this material, there may be other interpretations, actually, since now in Digital Culture this is all much simpler, another thing is that here, of course , it is important with what. A person approaches this, because there may be some distortions here, in general quite ridiculous, and we we know how one of the filmmakers , turning to this story, could turn it inside out. Another thing is that this material, as a result, thus exists like a film from einstein, precisely the material, these frames that we see, they pass from film to film as quotes, as quotes from poetry, in general, in one arise in one place, arise in another place, and as certain aphorisms. And one way or another we can get to know them from alexandrovs assembly, from oleg kovalovs editing version, from the film, which mary seaton once made in america in the late thirties, finally, based on this presentation by jay leidy, in general, in its various forms this film continues to live, but it seems important to me that esensteins writing is largely inspired by this foreign trip, he began to work more with text. And here not only was the birth of his important theoretical book, a method that is generally as basic as he himself defined it, but such a foundation of problems, that is. The support that for his theory, yes, with on the other hand, when at the end of his life he will write memoirs, simply a wonderful literary work, which, i think , our viewers, if anyone has not read, will read with pleasure, this book is not built 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 a story, a person learned to think in images, while it is told absolutely vividly, laconically, in short separate phrases, on the other on the other hand, a foreign trip, the Second Period of accumulation of impressions, it turns out that in fact we can take from oizenstein not only from the finished study of him as finished, but also from what he just conceived, from what he outlined, when they say, here actually, why was everyone running around isenstein so much, why was he so interesting, why was everyone around him. Why was he invited everywhere, why is he so important, why is he so important now, what did he teach us, but its very difficult to answer, because what about editing, they edited it before it, they edited it after it, yes, he showed very important editing techniques, 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 invented, did not 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 are really present, for me isenstein is the kind of person which has so reassembled cinematic montage that as we understand a work of art, then how we create it, if we say, we talk about why watch, now the film hail mexico, then my answer would be in order to understand, how something is created, yes, how it can not be fully created, how it can then exist on its own, how on this journey we see, well, we see mexico, for example, and ethnography, we see not just what it is, we see it through certain eyes, we see her through tisas eyes and through esensteins eyes. When the film had not yet been edited, when people saw other peoples edited versions, they said, but it s all the same, we understand that this is isenshtein, because we see how the shots are constructed, it cant be anyone else, its her work manifests itself regardless of how it is edited, but we see the world through the eyes of these people, and we can, at this stage, and of a halffinished film, edited later, somehow penetrate. The workshop into the kitchen, this, in general, is just incompleteness, but we know from einstein from texts, from photographs, from memoirs about him, we know what a living figure he is, and 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, to unfortunately, but nevertheless, we are present all the time, as if next to him, that is, by doing so we find ourselves really involved. In his laboratory, in his creative process, and this is probably the most interesting thing in this case, this there was a podcast ezenstein 125, film historian natalya ryabchikova and film critic artyom sopin, goodbye, hello, dmitry bak and here is a literary podcast called let them not talk, let them read, we talk about different topics, about different writers, about classics or about those who are close to us, but today we are talking about an author who, on the one hand, has passed away quite a long time ago, on the other hand , he is with us, he is nearby, this is Sergei Sanovich yesenin, a very popular poet, many say that he is a national poet, he was noted not this year, but earlier, this year we just everyone since we remember yesenin with a special feeling at the beginning of autumn, when he was born, today we are visiting the general director of the museum of the reserve Sergei Sanovich yesenin, boris igorevich joganson, hello, hello, and today we are also visiting andrei veshkurtsev, an actor of the moscow art academic theater named after maxim. Performer of the role of senin in the sensational play called mina, we will talk about yesenin from the point of view of the museum. Ill ask you a very simple thing, what is Sergei Yesenin charging us with today, exactly charging us, what is the main thing in it, do you think . The main thing is that the great russian poet, Sergei Aleksandrovich yesenin is understandable and close to a wide range of readers, those who appreciate his appeal to nature, but also those who provide food for strictly. Poets, but what if i say this , that you cant sing them right away, if i asked you now, completely improvisationally, lets sing two lines there, youre my fallen maple, we can, maple, youre my fallen, maple, icy, bending over under a white blizzard, well, its an experiment it was a success, we even sang four, it was difficult to stop, but no offense to pushkin or lermontov, but not right away, somehow im not going out onto the road, or i remember a wonderful moment, beautiful romances, i understand what youre talking about dmitry , the point here is, probably, that there are two definitions, a poet from. This is very important , but a folk poet is a folk poet, we can certainly include alexander sergegevich pushkin, vysotsky, probably Vladimir Semyonovich among folk poets vysotsky, mikhailovich, lermontov, Sergei Aleksandrovich yesenin, and i probably wouldnt take the risk of expanding this list very much, despite the fact that my god, my god, how wonderful our. Homeland is rich in magnificent, wonderful, brilliant talents, derzhava , ilonosova through the entire golden age of russian poetry, through the silver age, through the sixties to our wonderful contemporaries, so we can say that Sergei Aleksandrovich yesenin is certainly a poet from the people, but who has definitely become a peoples poet, lets turn to the photographs and yet this photograph, i think that you boris, will be able to comment on it, moreover, this is a Group Photograph of young residents of the village of konstantinovo, we see Sergei Alexandrovich young in a cap, in the middle, in order to insert him on a level with the girl he liked, uh, climbed onto a bucket or some other stand, how do you know, is this a legend or for real . Well, we figured it out after all, yes, since we take this kind of facts seriously, the girl is noble, of course, beautiful, thats all, against the background church of the kazan icon of the mother of god, on the right is the estate of the parents of Sergei Aleksandrovich yeseninan, where he was born and where he spent his childhood years, where he came later in his youth, when he studied at the spasklepikov secondgrade teachers school, when he left. Well, thats how since the next picture is of the kekov school, its students, yes, i understand correctly, yes absolutely correctly , yesenin is standing third in the last row , he was such a serious young man, he had a lot of friends, with