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Twelve essays written between 1928 and 1945 that demonstrate key points in the development of Eisenstein's film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an Introduction by Jay Leyda; Index; photographs and diagrams.

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是什么构成了画作中的这些多样性效果呢？眼睛沿着作品中某个要素的运作方向（direction）观画。这保持一种视觉印象，这一印象将与另一个要素运作方向所带来的印象发生冲突（collides）。这些方向间的冲突构成了画作的多样性效果，而这一效果帮助了观者对于全局的理解。

…mechanically, it is not. For, in fact, each sequential element is perceived not next to the other, but on top of the other. For the idea (or sensation) of movement arises from the process of superimposing on the retained impression of the object’s first position, a newly visible further position of the object.

…Art is always conflict…according to its social mission…it is art’s task to make manifest the contradictions of Being. To form equitable views by stirring up contradictions within the spectator’s mind, and to forge accurate intellectual concepts from the dynamic clash of opposing passions.

The film’s job is to make the audience ‘help itself,’ not to ‘entertain’ it. To grip, not to amuse. To furnish the audience with cartridges, not to dissipate the energies that it brought into the theater. … but amusement and entertainment must be understood precisely as only a quantitative empowering of the inner thematic material itself, and not in any sense as a qualitative power.

书籍介绍

Twelve essays written between 1928 and 1945 that demonstrate key points in the development of Eisenstein's film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an Introduction by Jay Leyda; Index; photographs and diagrams.