Eisenstein

This paper takes the idea of "culture" as a "busy intersection" through a visual ethnography that centers on the pyramid of Kukulcan at Chichen Itza. By focusing on this intersection, the author analyzes how diverse agents construct their own identity via the overt construction of the identity and culture of "the Maya" -- agents that range from archaeologists, new age spiritualists, the state, local maya artisans, tourists, and travel writers.  The essay explores the thesis of Walter Benjamin that the mimetic copy whithers away the aura of originals via the close textual reading of the meanings of ruins, original, and the contemporary processes of "copying" via construction of identities of self and other.

Sound Montage in I. Savchenko’s Musical The Accordion, 1934
“NATASCHA DRUBEK-MEYER analyzed the genre of the early Soviet musical in the first half of the 1930s, a time when the mere use of sound in film was still considered experimental, no matter how a/synchronous its relation to the image was. A close reading of Igor Savchenko’s collectivization musical Garmon (Accordion, 1934), the very first Soviet musical film, showed the principal difference in the role that music played within the film narrative in Soviet and American musicals. Even the level of “musical numbers” reaffirmed the Soviet emphasis on montage, where music (as well as sound in general) is not motivated by the plot, does not ensue from the diegesis of the film but rather occupies a status of its own. Drubek-Meyer also emphasized the different use of noises, such as the thumping of machines or the sound of rainfall, which, in the American musical, serve rather as a gate or intro to the musical numbers, whereas in the early Soviet tradition they become acoustical objects of their own semantic significance.” (Jana Klenhova on H-Soz-u-Kult, October, 2007, http://www.h-net.org/reviews/showrev.php?id=28677

Звукомонтаж в фильме «Гармонь» (1934) Игоря Савченко

- Судьба «Заявки» о звуковом кино 1928 г.
- Звуковое кино в 1934 г. в СССР (модели реалистически-синхронного звука и самoбытного звукового ряда
- «Гармонь» как жанровый гибрид
- Фильм «Гармонь» и два типа американского мюзикла
- Мелодия из бытовой интонации в «Гармони»
- Не танец, а музыка...
- Визуализация ритма (Америка) и ритмический звук как аттракцион (СССР)
- Звуковые образы в первом советском музыкалном фильме
- Заикание Тимоши Дудина
- Гармония - гармонь - «Гармонь»
- Удается ли музыкальное раскулачивание?
- Идеологическая и семантическая функция звуков
- «Гармонь» как экранизация поэмы Жарова
- Звуковое кино после 1936 г. в СССР : Красный Голливуд

(Die Ton-Montage im Film Akkordeon, 1934, von I. Savčenko).