moreover, when he arrived in mexico, he returned to drawing. this is the ezenstein-125 podcast with you, the history of cinema natalya ryabchikova and arrtem sopin cinema. staying in mexico really opens him up creatively, takes him to a new stage creatively and theoretically, because it is here that he thinks through it, here he begins to feel more deeply this connection between theory and practice through general things, not only narrowly cinematographic, not only editing . and so on, and through the theory of perception, he begins to think about

the psychology of the viewer, about the psychology... of the artist, how this contact with the material is created, how this contact with the material is created, it is here that one of the most important of his later books begins to take shape, the method and adjacent to the caring nature, they originated, in general, these thoughts originated, which are now so valuable, and which is now being studied by cultural scientists and psychologists all over the world, precisely in mexico, because mexico gave him some kind of impulse to rethink his life in general, and because there was time, they arrived for a year and a half, sat there, wrote off some of their ideas for the script to sinclair, again, then alexander would suggest organizing it all around some song, otherwise it’s the rainy season, then they’re going, suddenly there was an earthquake in ohaka, they’re going quickly film a chronicle, so they drive around, get drunk, study, this is necessary, this is important, and eisenstein was able to justify it, and get money for it, then they start filming, it’s the rainy season, they sit, of course, he reads books, of course ,

he doesn’t have any distractions, yes, you don’t even need to watch the films of your soviet colleagues, and you can finally express yourself, including in text, including in drawings, he simply draws hundreds a day, these semi-automatic sketches of one line are incredible, they also shoot in many ways, and automatically, that is, they shoot, they build it up like a living mattein, then they will say that the film will remain unedited, why do we just say now? but it will remain unedited, because editing in a sense took revenge, that is, he was so keen on editing, and here he he didn’t come up with any editing techniques in advance, but here he immediately built it up for some of his own associative transitions. we can - look at how different eras combine as a transition, for example, such an eccentric decision, this is in the day of the dead, in the finale this is... a plan.

here we see how the negative heroes take off their masks , the positive heroes take off their masks and there are living laughing faces, this is the same contrast between the living human principle and some kind of... terrible suppressive machine that passes through all of his work, which we see in potemkin, which we will later see in nevsky , in general, here the structure is rather not so much frame-by-frame editing as a montage of certain such short stories, in particular we can probably watch the prologue of the film, when there in general, an image of eternity is shown, these are eternal stones and people eternally make their way along them. the inhabitants of the country

of sacred ruins of huge pyramids still retain the character and form of their ancestors. among pagan temples, sacred cities, in the kingdom of death... where the past still reigns above the present, human faces are similar to those carved from stone, for the stone figures are the image of the ancestors, the mexicans, as a symbol reminiscent of the past, a funeral

rite among the dead in the ruins of past monuments, an image of complete enslavement before the idea of ​​death, a logical physical end person. it seems to me that what is important here is not only how he sees, combines everything, the entire history of mexico in these rituals, in these landscapes and so on, it is also important here, this attention to art, yes. here we are talking about ancient art, but around esenstein contemporary mexican art, there are the same avant-garde artists, and he communicates, cannot help but communicate, naturally , but with david siqueires, with diego riveiro, with frida kahlo, he revolves in this, spins in this, cooks in this, and this

of course, it also feeds him, but in hollywood there were no such people, or he didn’t feel them, yes, he didn’t see them around him, because maybe they were in new york, in mexico everything is closer, everyone knows each other and he is in this... and also co-present, and of course, he doesn’t really want to return, already at sinclair’s money is running out, then he makes, it seems to me, not a very smart move, he writes to moscow, to the state data, trying to demand money, his royalties for translations of his works, and then the story begins to unfold, when suddenly, well, maybe not suddenly, but at the next moment they remember that our main director, the author of the battleship potemkin, is wandering around somewhere, he’s in mexico, in mexico , by the way, awesome. i have to return without finishing filming, in fact, this composition of several short stories about different states of mexico, let’s say, was supposed to end with a short story about a woman, a soldier, who goes first for one revolutionary army, then for another there is a sopata, villa , and so on, but as a result this novella

was supposed to be a kind of short story about the image of mexico as a whole, through this woman, she called the soldier was not filmed, in general, without completing the filming of the film in any way... without editing anyone , isenshtein goes to moscow, in moscow he hopes that they will send him material, because in general, he assumed, here in in general, i don’t mind what they send to him, he’s in moscow edit, then the rights will be inside the iron curtain, inside the soviet union, the rights to distribute the film will be with soviet official government agencies, and throughout the rest of the world, where there is... great interest in ezenstein’s work and there is commercial potential, the rights will be with sinclair and he will thus get back the money that he invested, that he collected, but singler does not believe and does not agree to send the material, and decides to return the money

by rolling pieces of this material in america, giving it to another editor, at the beginning in the thirties, two full-length short films were created, and in the late thirties, a whole series of short films, although in the late thirties, such a journalist, near kinin, lady mriri seaton, would make her version, in general , well, at least she at least somehow knew ezenshtein’s plan, so her version in general -the editing is not the worst, that is, if you were an independent or semi-independent director in the thirties, you could afford to buy a little footage from einstein and edit something there yourself, the easiest way, of course, was to use the short story where the plot of magegaya has been worked out, yes, here we have it, we can watch it too,

they forgot about maria. the inexperienced girl does not know what fate awaits her, in fact, the tragedy is that everyone could edit it, except isenshtein, it was such a system, they film it, they send it to los angeles, there is their own person in the laboratory, who tise trusts, the russian, who shows this

as necessary, sends them the material, they see it all, but they cannot do anything about it, izinstein saw almost all the material, but he couldn’t sponsor anything being in mexi before... he wrote it down in his diary, but then he goes to the soviet union absolutely expecting that... the film will follow him and that he will finish it for the man who created previous films in the editing room can’t be completed, it’s practically a physical pain, and we know about this from his memoirs, and from the people with whom he later communicated, or he writes in his diary, he’s just arrived, it’s spring, summer of 1932, he writes diaries, shklovsky talked about how shot himself, mayakovsky, this was back in 1930, yes, noshtein seemed to have missed it, they only informed him in letters. mayakovsky

shot himself because he called on the phone, wanted to talk to someone, but no one answered. it looks like esenstein is writing down. then he writes: a pregnant cat is dying in the kitchen; it seems she cannot give birth to kittens. and in general, for him, this trauma, it was not resolved in any way, since until the end of his life he was never able to gain access to this material; at the end of his life, by the way, he outlined, year, he wrote how it would be possible to structure the film, given that the last short story was not filmed, how to structure it differently, and in the fifties there was no longer a living zenstein, in america, the museum of modern art in new york, jay leida , a man who started as a director, an avant-garde artist in america, who came to the soviet union , studied with stein, and returning to the usa, there he propagated soviet culture, not so much even propagated it, but rather studied it - in a serious sense, that is, he - it

popularized and - wrote books about soviet cinema, and he just collects all the material, it goes to the museum of contemporary art in new york, and leida builds something like what we would now call a presentation, that is, individual frames with explanations , what kind of shot is this, but for eight hours, well, less, after all, and he comes to the soviet union in the late fifties, it’s already thawed, so he can... go and he shows the movie in the house on vgik with his comments all understand that this is not a legend, that the film was made and that something needs to be done about this, in general, after this negotiations begin, and the museum of modern art in new york makes a copy for itself and leaves it, and transfers the original, the negative itself, to the soviet union, where alexandrov, the only one, by that time, the survivor, a member of the film crew, had died ten years earlier in the seventies, aleksandrov edits his version,

in general, of course, maybe this is not an ideal reconstruction, but at least he himself appears in the frame, and this is such a comment, on the one hand, it’s like alexandrov’s recollection of the trip, on the other hand, and his story about the film, by the way, we can look at the already elderly alexandrov looking at the material. actually, yes, of course, this is how grigory vasilyevich’s fate turned out in a mirror image, he started with esenstein, with esenstein he finished his work, but it seems to me that imagedes should also be mentioned, because he very interestingly goes through this story with a dotted line, in fact, he began -he was in new york, but then he listened to esenstein’s lecture in america and realized that he needed study with ezenshtein, ezenshte. went to mexico, returned to moscow and leida arrived there, entered that workshop

, which actually became the main one for isenshein, and with the help of teaching, he basically came out of this drama, even the tragedy with mexico, we have a memory of the same leida, how is he such a boy who came from a completely different culture, he says, sergei mikhailovich , why are you teaching everything, don’t make a new film, according to him, later, he grabbed his stomach and said as much as i can. give life new film, if i had not yet given birth to the previous one, and leida writes down what a fool i was that i reminded him of this at all, and for leida it was also such a living connection, yes, and he completed a course with the master, but but he did not stay in the soviet union, did not become a director, returned, and then not only accumulated information there, he translated texts from einstein into english, he was the person who published esenstein’s first book, what esenstein had wanted to do for so long, he was going to... to europe with a draft of a book, he wanted to go to

twenty years to release it, but everything didn’t work out, didn’t work out, didn’t get a new book, 129th, yes, new films, in general , it’s very interesting that this image that he brought up in a conversation with leida, he’s so very biological in some sense, and this is the biological principle in a person, which is also very important, after all, izinstein discovered it in mexico, in many ways, so his first short story should have been dedicated to just this... a person’s sense of self and, in general, i must say that the only optimistic one here is the situation with the material is that it lives and from it many people later... there may be different options, for example, the cinematography oleg kovalov in 988 edited the film sergei zinshtein mexican fantasy, this is its own interpretation of this material, there may be other interpretations, actually, since now in...