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Am Anfang war das Blackout. Zur Konstruktion des Gedächtnisses in der Erfahrung des Films

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Abstract

The article explores the relationship between materiality and immateriality, visibility and invisibility in Sergej M. Eisensteins notion of film as a technique of constructing and transferring thoughts. Drawing on Eisensteins «Kinomorphisation» (Holl) of memory, as it is developed in his essay Montage 1938, and on a paradigmatic sequence taken from Fridrikh Ermlers Film DER MANN, DER SEIN GEDÄCHTNIS VERLOR (OBLOMOK IMPERII, 1929), that would not have been realised without Eisensteins Ko-Operation – as elucidated by O. Bulgakowa –, the text deals with the role of pre-semantic disruptions or blackouts during cinematic suggestion («Einbildung») of a dissolve. Moreobever, the article relates Eisensteins co-operative aesthetics with (a) the suture-theories of the 70s, (b) Münsterbergs psychotechnic approach to cinema and (c) with those (im-)material ghosts, which are brought into being by the postfilmic cinema.

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Wittmann, Matthias: Am Anfang war das Blackout. Zur Konstruktion des Gedächtnisses in der Erfahrung des Films. In: Zeitschrift für Medienwissenschaft, Jg. 2 (2010), Nr. 1, S. 41-52.10.25969/mediarep/1463
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The item has been published with the following license: Unter Urheberrechtsschutz