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By Chris Hillman

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It does not just mean to fuse with her. But, from the position of an admirer—to possess her. You can only imagine another person at the second stage. After the first stage in which you mimic the model. You reproduce her subjectively in yourself in order to return her once again to objectivity, as an image on paper. 127 If this text clarifies the ‘talismanic’ aspect of Eisenstein’s drawing, we find the theme of ‘mutually penetrating objects in painting and drawing’ as early as 1932 in a notebook entry which also introduces the metaphoric concept of ‘protoplasm’ in relation to both his own and Disney’s drawing.

Eisenstein was no simple apologist for Lenin or Stalin. Indeed the many accusations of heresy directed against him—first by his colleagues in the LEF group, later by Stalin’s apparatchiks and posthumously by Western Marxists—are perhaps the surest proof of his essential originality and independence. It was the Revolution that first freed him from the conformism of bourgeois culture, set to follow in his father’s footsteps as an ‘obedient little boy from Riga’. Then the liberated theatre of Proletkult and Meyerhold drew him to the Revolution, until film beckoned as a more efficient medium of propaganda.

When Part II was eventually released in 1957, the prologue had become a subjective flashback, and it was apparent that the film covered considerably less ground than indicated in the Part II scenario. Was this in fact Eisenstein’s own conception of Part II? And, if so, was it the first version which he had completed in 1946 before his heart attack? 62 They go on to state categorically that by mid-1946, ‘there was no talk of or plan for Part III: all materials for it, including four edited reels, had, by then, been destroyed’.

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An Outline Of The Theory Of G-Sets by Chris Hillman


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