EUR 30,99
  • Precio final del producto
Envío GRATIS. Ver detalles
En stock.
Vendido y enviado por Amazon. Se puede envolver para regalo.
Disney: Edited by Oksana ... se ha añadido a la cesta
¿Tienes uno para vender? Vender en Amazon
Volver atrás Ir adelante
Escuchar Reproduciendo... Interrumpido   Muestra de la versión audiolibro de Audible.
Más información
Ver las 3 imágenes

Disney: Edited by Oksana Bulgakowa & Dietmar Hochmuth (Inglés) Tapa blanda – 27 jul 2013

Ver los 4 formatos y ediciones Ocultar otros formatos y ediciones
Precio Amazon
Nuevo desde Usado desde
Tapa blanda
EUR 30,99
EUR 30,99 EUR 48,43

Compra este producto y disfruta de 90 días gratis de Amazon Music Unlimited
Después de tu compra, recibirás un email con más información sobre cómo disfrutar de 90 días gratuitos de Amazon Music Unlimited. Descúbrelo
click to open popover

Descripción del producto

Reseña del editor

Eisenstein commented on Disney: “Walt Disney’s work is the most omni-appealing I’ve ever met. (…) The very idea, if you will, of an animated cartoon [animation: literally, a drawing brought to life] is practically a direct manifestation of the method of animism. In this way, what Disney does is connected with one of the deepest features of the early human psyche.” His essay on Walt Disney was part of his unfinished book METHOD, a study of the relationship between archaic thought and art practice. Disney becomes the central subject of analysis, because in his work the synesthetic affects of sound and color, and the perfect visual rhythm unite with animism, totemism and the plasmatic qualities of form. Eisenstein discovered in these distinctive characteristics of form a long genealogical ancestry and a deep yearning for the freedom that could allow one to imagine and even represent differently the relations of man and nature. “The rejection of the constraint of form, fixed once and for all, freedom from ossification, an ability to take on any form dynamically. An ability which I would call ‘plasmaticity,’ for here a being, represented in a drawing, a being of a given form, a being that has achieved a particular appearance, behaves itself like primordial protoplasm, not yet having a stable form, but capable of taking on any and all forms of animal life on the ladder of evolution.” The text exists on the border of collage, between a workbook and an intimate diary with the autobiographical, therapeutic passages on relationships to women and men, animals and plants on the sexualized relationship to reading and writing: “As usual. As soon as I read something new, breathless with delight, when it turns out that it fits perfectly somewhere into my research material. It’s understandable. The things that are thrilling for me tend to be of a particular nature. And they are also the ones that interest me from a research perspective. It’s pleasant, however, that this kind of stuff usually comes to me “par l’amour” [through love]. That gives it a certain suavity, vigor, emphasis instead of academic dryness. Something youthful, not to say boyish!“ Circus, ornament, cave paintings and Leonardo, Wilhelm Busch, Utagawa Toyohiro, Grandville, Saul Steinberg, Shakespeare, Balzac, Dostoevsky, Napoleon, Gorki, La Fontaine, Lautréamont, Hegel, Darwin, Freud und Ferensci, Fourier and Disney. Hardly anyone had heretofore attempted to place the work of the creator of Mickey Mouse within such an opulent context of high culture.

Biografía del autor

Sergei Eisenstein (1898 – 1948), the great Soviet film director, was born in Riga. His father was a Jew of German origin who had converted to Russian Orthodoxy and who passed himself off as a Baltic baron. His mother was the daughter of wealthy Russian (and traditionally anti-Semitic) merchants from St Petersburg. Eisenstein’s life was full of unforeseen diversions and turns of events: Would he become an architect like his father and go into German exile in 1918? Would he be banished as a Freemason in 1925, or stay in the USA in 1932? Would he be sentenced by a special court in 1939 to be executed, like his friends Isaak Babel and Vsevolod Meyerhold? Or would he ultimately die as a Stalin Prize winner (for Ivan the Terrible, Part I) of a heart attack caused by the ban on Part II? Oksana Bulgakowa

No es necesario ningún dispositivo Kindle. Descárgate una de las apps de Kindle gratuitas para comenzar a leer libros Kindle en tu smartphone, tablet u ordenador.

  • Apple
  • Android
  • Windows Phone
    Windows Phone

Obtén la app gratuita:


Detalles del producto

Ninguna opinión de cliente

Valorar este producto

Comparte tu opinión con otros clientes