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Sergei Eisenstein as seen by Peter Greenaway: a dialectic representation of an (anti-)great film director

2019-03-07Journal article Restricted access
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dc.contributor.authorChinita, Fátima
dc.date.accessioned2019-10-29T15:56:10Z
dc.date.available2019-10-29T15:56:10Z
dc.date.issued2019-03-07
dc.description.abstractABSTRACT - Peter Greenaway’s recent biopic of the great Russian film director and master of montage Sergei M. Eisenstein, Eisenstein in Guanajuato, forms an important addition to filmic life writing. Greenaway ‘writes’ Eisenstein on screen through the film director’s actions as documented across an array of sources—including Eisenstein’s own autobiography—but he also reveals Eisenstein’s inner thoughts and feelings, using Eisenstein’s own voice (that is, his theories and film practice). Rather than portraying the Russian director at work, Greenaway opted to present Eisenstein’s directorial film philosophy, attempting to capture the essence of being ‘Eisenstein’. The film focuses on fourteen crucial months in the director’s life: the period he spent in Mexico, from where he was banished without completing what could have been his directorial masterpiece, the film Que Viva Mexico! Greenaway is laudatory of Eisenstein’s importance for the history of cinema, whilst depicting him in carnivalesque and corporeally grotesque terms. Thus, Greenaway simultaneously portrays Eisenstein as a great man and an anti-hero, in truly dialectical form. These apparently contradictory images of the cinematic master, functioning as thesis and antithesis, build up into something larger: a synthetic Eisenstein. The result is a larger-than-life, entirely ecstatic Eisenstein and an ode to his synaesthetic and dialectical approach to life and cinema. In doing this, however, Greenaway doubles his subject’s ‘voice’ with his own and also ‘writes’ himself through Sergei Eisenstein’s theory and practice.pt_PT
dc.description.versioninfo:eu-repo/semantics/publishedVersionpt_PT
dc.identifier.citationFátima Chinita (2019) Sergei Eisenstein as Seen by Peter Greenaway: A Dialectic Representation of an (Anti-)Great Film Director, Life Writing, 16:2, 177-193, DOI: 10.1080/14484528.2019.1548251
dc.identifier.doihttps://doi.org/10.1080/14484528.2019.1548251pt_PT
dc.identifier.issn1448-4528
dc.identifier.urihttp://hdl.handle.net/10400.21/10688
dc.language.isoengpt_PT
dc.peerreviewedyespt_PT
dc.publisherRoutledge Taylor & Francis Grouppt_PT
dc.relationSFRD/BDP/113196/2015pt_PT
dc.relation.publisherversionhttps://www.tandfonline.com/loi/rlwr20pt_PT
dc.subjectAuthorial discoursept_PT
dc.subjectBiopicpt_PT
dc.subjectFilm directorpt_PT
dc.subjectEisenstein in Guanajuatopt_PT
dc.subjectPeter Greenaway
dc.titleSergei Eisenstein as seen by Peter Greenaway: a dialectic representation of an (anti-)great film directorpt_PT
dc.typejournal article
dspace.entity.typePublication
oaire.citation.endPage193pt_PT
oaire.citation.startPage177pt_PT
oaire.citation.titleLife Writingpt_PT
oaire.citation.volume16:2pt_PT
person.familyNameMata
person.givenNameMaria
person.identifier.orcid0000-0001-7494-1039
rcaap.rightsclosedAccesspt_PT
rcaap.typearticlept_PT
relation.isAuthorOfPublication4e5f0177-6b2a-4c33-8259-2ff05d9c945a
relation.isAuthorOfPublication.latestForDiscovery4e5f0177-6b2a-4c33-8259-2ff05d9c945a

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