See, for example, Oksana Bulgakowa, “Eisenstein as Curator,” Senses of Cinema, no. 93 (July 2020) →.
Montage here could also refer to the montage-like form of Warburg’s Bilderatlas Mnemosyne (1927–29).
Jacques Aumont, Montage, trans. Timothy Barnard (Caboose, 2020), 10.
A small but important note regarding Lobster Telephone: for a generation that has grown up without landlines, the design might look tacky, but the object is not as strange or outrageous as its creator intended it to be.
Anselm Franke, in Animismus: Moderne Hinter Den Spiegeln = Modernity through the Looking Glass, ed. A. Franke (Verlag der Buchhandlung Walther König, 2012), 174.
From the song “Somos Más Americanos” on the group’s album Uniendo Fronteras (Fonavisa, 2001).
Sylvia Wynter, “Unsettling the Coloniality of Being/Power/Truth/Freedom: Towards the Human, After Man, Its Overrepresentation—An Argument,” CR: The New Centennial Review 3, no. 3 (2003).
David Graeber and David Wengrow, The Dawn of Everything: A New History of Humanity (Farrar, Straus and Giroux, 2021).
See Peng-Yoke Ho, “Chinese Number Mysticism,” in Mathematics and the Divine: A Historical Study, ed. Teun Koetsier and Luc Bergmans (Elsevier, 2005).
For a similar analysis in a different cultural context, see Laura U. Marks, “Talisman-Images: From the Cosmos to Your Body,” in Deleuze, Guattari and the Art of Multiplicity, ed. Radek Prezedpełski and S. E. Wilmer (Edinburgh University Press, 2020).
“Yu took up the shovel and basket with his own two hands, joining and interconnecting the waterways of the world until the down was scraped off his hams and the hair off his shins, drenched in extreme rains, hair raked through by violent winds.” “The Whole World,” chap. 33 in Zhuangzi. English translation from Zhuangzi: The Complete Writings, trans. Brook Ziporyn (Hackett Publishing, 2020), 268.
Walter Benjamin, The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media, ed. Michael W. Jennings, Brigid Doherty, and Thomas Y. Levin (Harvard University Press, 2008), 49–50n24. The quoted translation is slightly modified following Elena Vogman’s suggestion: “‘Politischen Menschen,’ a phrase that approximately corresponds to ‘political human’ … seems to suggest more expansive effects than the official translation’s ‘politician.’” E. Vogman, Dance of Values: Sergei Eisenstein’s Capital Project (Diaphanes, 2019), 13n1.