[000:00:00;00] a draft of a book, he wanted to release it back then in 29, but it didn’t work, it didn’t work, it didn’t work, and a new film, in general, it’s very interesting that this image that he brought up in a conversation with leida, he’s like this very biological in some sense, and this biological principle in a person , which is also very important, isenstein discovered in mexico, in many ways, his first short story was supposed to be dedicated to just such a natural self... the feeling of a person in general - i must say that i am optimistic, the only thing in the situation with the material is that it lives and many people later edited it into different versions; for example, the film director oleg kovalov edited the film sergei zinshtein in 1998, mexican fantasy, this is its own interpretation of this material, there may be other interpretations, in fact, since now in

digital culture is all much simpler, another thing is that here, of course, it is important how a person approaches this, because there may be some distortions, in general quite ridiculous, and we know how some of the filmmakers turn to this history could have turned this inside out. another thing is that this material, as a result, exists in this way, like a film from einstein, exactly the material, these frames that we see, they move from film to film, like quotes, like quotes from poetry, in general, in one place arises in another place. they also arise as certain aphorisms, and one way or another we can get acquainted with them from alexandrov’s assembly according to oleg kovalov’s editing version of the film that mary seaton once made in america in the late thirties, finally, based on this presentation by jay leidy, in general, in its various guises this film continues to live, but it seems to me that it is also important that esenstein was inspired to write it to a greater extent by this

foreign trip from... he to a greater extent began to work with texts, and here not only his important theoretical book was born, a method that is generally as basic as he himself defined it, but such a ground of problems, that is, the support that for his theory, yes, on the other hand , when at the end of his life he will write memoirs, just a wonderful literary work, which, i think, our viewers, if anyone has not read, will read with pleasure. and this book is not structured like an ordinary memoir, where a person describes his life sequentially , it is dedicated to only two periods, childhood, when he accumulated impressions in general, such a story of accumulation of impressions, this is the story of how a person learned to think in images, and it is told absolutely vividly , laconically in short individual phrases, on the other hand, a foreign trip, the second

period of accumulation of impressions, it turns out, what can we actually take from oizenstein, not only from the finished study of him, but also from what he just conceived, from what he outlined, and when they say, that’s actually why everyone was rushing around isenstein so much, why was he so interesting, why was everyone jumping around him, why was he invited everywhere, and why is he so important, why is he so important now, what did he teach us, but it’s very difficult to answer, because well, editing, editing before him, editing after, yes, he has very important editing techniques showed. but this is not the only thing, yes, he talked about sound, yes, he looked at color, yes, he spoke about culture, how different layers of consciousness are combined there, but he is something like newton, who, uh, invented, didn’t invent, expressed, yes, expressed, there is gravity, there is the law of universal gravitation, and we simply continue to exist in this world, physically, simply, we don’t think, oh, newton came up with why this is important, he just set the

parameters in which... we we are really present, for me isenshtein is a person who has reassembled so much cinematography, how we understand a work of art, how we create it, if we say, we talk about why watch the film viva mexico now, then my answer would be in order to understand how something is created, yes, how can it not be fully created, how can it then exist on its own, how on this journey we see, well, we see mexico, let’s say, yes, ethnography, we see not just what it is, we see it through certain eyes, we we see her through the eyes of tise and through the eyes of esenstein, when the film it wasn’t yet edited, when people saw other people’s edited versions, they said, but it’s all the same, we understand that this is ezenstein, because we see how the shots are constructed, it can’t be anyone else,

it shows her work. .. no matter how it is edited, we see the world through the eyes of these people, and we can, at this stage, of a half-finished film... edited later, somehow penetrate into the workshop, into the kitchen, this is, in general, just incompleteness , but we know from einstein from texts, from photographs, from memoirs about him and we know what a living figure he is, in fact, when we see that this material has not yet been edited by esenstein himself, and despite the fact that it will never be edited by esenstein himself, unfortunately, but nevertheless we all the time we seem to be present next to him, that is, by doing so we find ourselves truly involved in his laboratory, in his creative process, and this is probably the most interesting thing in this case, this was the ezenstein 125 podcast, film historian natalya ryavchikova