By Sergei Eisenstein
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Extra resources for Nonindifferent Nature: Film and the Structure of Things
It was easy within the wans of the 'Tree workshop,, in the F'm ZoIa, I still -Institute love and and the into the center of BaÞac,s attention are and captivating objects, but in at have captivated, swallowed, to distribute an twenty novels of Emile zota airong th"m. And it was even easier, wh'e forcing quotations t om t"errîy novers to "beat theÍ¡ heads against eãch other,,, ""puru," novers containing an I that lawn tennis, which , having flown pasr in the signifies both kingdoms, kingdom of Darkness: the II.
And finally, rolling, downward, rushes _ the baby carriage. ,,ot¡uctivistic,, styli'stic method, Zora in any way ignores other t¡>es of Iiterary effect. Not at all! And actuaily on tlte contra_ry. Therefore, having described above the method of exproiting .. $, with the substantial! If we take rh¡hm, for example, whole passages in Zola,s novels a¡e written in almost rhythmic prose: somewhàre inã bookret I happened to see a page describing a procession of coal miners that was writtån in the genre ofnarrative verse as a sequence ofconsecutive stanzas in one of the heroic verse meters.
It consisted of an entire atmy of headless aud legless mannequins, which under silk disprayed onry torsos and flat doll chests full of unhealthy lewdness. In the riferess torsos of the mannequins, unhearthy aroused. ness is But now the fabric enveroping them and the mannequins themserves begin to become alive a¡ld move: People o
Nonindifferent Nature: Film and the Structure of Things by Sergei Eisenstein