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Nina Perlina. Ol'ga Freidenberg's Works and Days. Bloomington, IN: Slavica, 2002. vii, 288 pp. $24.95.

Nina Perlina. Ol'ga Freidenberg's Works and Days. Bloomington, IN: Slavica, 2002. vii, 288 pp.... The final article, "Savage Thinking: Metamorphosis in the Cinema of S. M. Eisenstein," turns to modernist film; Anne Nesbet examines metamorphosis in Eisenstein's films, which lead her to "less well remembered aspects of montage" (p. 154). Reminding us that the term "montage" has its roots in animal breeding, Nesbet shows that, for Eisenstein, montage meant not only the clash, but the combining of images; therefore the director saw significance in seemingly disparate examples such as the Bororo, who believed they were at the same time humans and parrots, and Mickey Mouse, whom Eisenstein called "both human and a mouse" (p. 169). Like several other authors in this collection, Nesbet draws on archival sources to support her ideas. This volume contains six high-quality articles by established scholars that should be read by anyone interested in Russian modernism or the theme of metamorphosis (the arti- cles are accessible to those who do not speak Russian; even Russian titles in the bibliog- raphy are translated into English). One hopes that this well-produced volume will en- courage more writing on this theme, perhaps in the area of modernism, where much re- mains to be done, or in other periods such as the nineteenth http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Canadian-American Slavic Studies Brill

Nina Perlina. Ol'ga Freidenberg's Works and Days. Bloomington, IN: Slavica, 2002. vii, 288 pp. $24.95.

Lehrman, Alexander
Canadian-American Slavic Studies , Volume 40 (4): 551 – Jan 1, 2006
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Publisher
Brill
Copyright
© 2006 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0090-8290
eISSN
2210-2396
DOI
10.1163/221023906X00311
Publisher site
See Article on Publisher Site

Abstract

The final article, "Savage Thinking: Metamorphosis in the Cinema of S. M. Eisenstein," turns to modernist film; Anne Nesbet examines metamorphosis in Eisenstein's films, which lead her to "less well remembered aspects of montage" (p. 154). Reminding us that the term "montage" has its roots in animal breeding, Nesbet shows that, for Eisenstein, montage meant not only the clash, but the combining of images; therefore the director saw significance in seemingly disparate examples such as the Bororo, who believed they were at the same time humans and parrots, and Mickey Mouse, whom Eisenstein called "both human and a mouse" (p. 169). Like several other authors in this collection, Nesbet draws on archival sources to support her ideas. This volume contains six high-quality articles by established scholars that should be read by anyone interested in Russian modernism or the theme of metamorphosis (the arti- cles are accessible to those who do not speak Russian; even Russian titles in the bibliog- raphy are translated into English). One hopes that this well-produced volume will en- courage more writing on this theme, perhaps in the area of modernism, where much re- mains to be done, or in other periods such as the nineteenth

Journal

Canadian-American Slavic Studies – Brill

Published: Jan 1, 2006

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