19. “Phoenix at Benicia” (first printed in the Pioneer, July 1855), ibid., P. 175.
20. V. A. Bogoroditzky, General Course in Russian Grammar. Moscow-Leningrad, 1935, p. 203.
21. Ivan I. Meshchaninov, General Linguistics. Leningrad, 1940.
22. Gilbert Seldes, The Movies Come from America. New York, Scribner’s, 1937, pp. 23–24.
23. Gilbert Seldes, The Seven Lively Arts. New York, Harper & Brothers, 1924.
24. The Shorter Oxford English Dictionary.
25. Terry Ramsaye, A Million and One Nights. New York, Simon and Schuster, 1926.
26. Robert Edgar Long, David Work Griffith. D. W. Griffith Service, 1920.
27. Fritz Mauthner, Beitrage zu einer Kritik der Sprache: Zweiter Band, Zur Sprachwissenschaft. Leipzig, Felix Meiner, 1923, pp. 487–488.
28. Ralph Waldo Emerson, “The Poet.” In Essays: Second Series.
29. A. A. Potebnya, From Notes on a Theory of Literature. Kharkov, 1905.
30. Richard Maria Werner [?].
31. Potebnya, op. cit., p. 203.
32. Johann Ludwig Tieck, Die Gemälde; cited translation published London, 1825.
33. Potebnya, op. cit., p. 490.
34. Joseph Vendryes, Language, A Linguistic Introduction to History, translated by Paul Radin. New York, Alfred A. Knopf, 1925, pp. 145–146.
35. Alexander Semyonovich Shishkov, Collected Works and Translations. St. Petersburg, 1825, Part 5, p. 229.
Index
abstraction, [>], [>]–[>]
acting, [>]–[>], [>], [>]–[>], [>], [>]–[>], [>]–[>], [>]–[>]
After Many Years, [>], [>]–[>]
Agfacolor, [>]
Aksënov, [>]
Alexander the Great, [>]
Alexander Nevsky, [>]–[>], [>], [>]–[>], [>]
Alexandrov, Gregori, [>]
All Quiet on the Western Front, [>], [>]
America, [>]
Amori, Count (Rapgov), [>]
Amorous Bayaderka, The, [>]
Appia, Adolphe, [>]
Applause, [>]
Archipenko, [>]
Arsenal, [>]
association, [>], [>]–[>]
atmosphere, [>]
audio-visual perceptions, [>]–[>], [>], [>]–[>], [>]–[>], [>], [>]–[>]
Babel, Isaac, [>]; Sunset, [>]
Bach, Johann Sebastian, [>]
Balla, Giacomo, [>]
Balzac, Honoré, [>], [>]; Vautrin, [>]
Banks, Monty, [>]
Barry, Iris, [>]
Barthelmess, Richard, [>], [>]
Bashō, [>]
Batalov, Nikolai, [>]
Baudelaire, Charles, [>]
Baudouin de Courtenay, Ivan Alexandrovich, [>]
Beecher, Henry Ward, [>]
Beethoven, Ludwig van, [>]
Belyi, Andrei (Boris Nikolayevich Bugayev), [>], [>]
Béranger, Pierre Jean de, [>]
Berger, Ludwig, [>]
Berlin, [>]
Bezhin Meadow, [>], [>]
Biograph Company, [>]–[>], [>]
Birman, Serafima, [>]–[>]
Birrois, [>]
Birth of a Nation, The, [>]
Bizet, Georges, Carmen, [>]
Black Consul, The, [>]
Bode, Rudolph, [>]
Bogoroditzky, V. A., [>]
Bolder, Benjamin, [>]
Brady, William A, [>]–[>]
Breshko-Breshkovsky, [>]
Broken Blossoms, [>], [>]
Bryan, J. Ingram, [>]
Buson, [>]
Cabinet of Dr. Caligari, The, [>]
Caldwell, Erskine, Tobacco Road, [>]
Calvin, John, [>]
Cannons and Tractors, [>]
Chapayev, [>], [>], [>]
Chaplin, Charles, [>], [>], [>]
Châteaubriand, François Auguste René, Vicomte de, [>]
Chekhov, Anton, [>]
Cherkasov, Nikolai, [>], [>]
Chesterton, Gilbert Keith, [>]
China Express, [>]
Chushingura (The Forty-Seven Ronin), by Takeda Izumo, [>], [>]–[>]. [>]
Chute de la Maison Usher, La, [>]–[>]
Clair, René, [>]
class tendency, [>], [>], [>]
close-up, [>]–[>], [>], [>]–[>], [>]–[>]
color, [>], [>], [>], [>]–[>]
Commedia dell’arte, [>], [>]
composition, [>], [>]–[>], [>]–[>]
conflict, [>]–[>], [>]–[>], [>]–[>], [>]–[>]
Confucius, [>]
conventionalism, [>]–[>]
Cooper, James Fenimore, The Pathfinder, [>]–[>]
correspondences, [>]
counterpoint, [>], [>]
Craig, Gordon, [>]
Crowd, The, [>]
Dante Alighieri, [>], [>]
Danton, [>]
Daumier, Honoré, [>], [>], [>]
Death Ship, The, [>]
Debussy, Claude-Achille, [>]–[>], [>]
Dégas, Edgar, [>]
Delacroix, Eugène, [>]
Derby, George Horatio (“John Phoenix”), [>]–[>]
Dernier milliardaire, Le, [>], [>]
Dethomas, Maxime, [>]
dialectics, [>]–[>], [>]
Dickens, Charles, [>]–[>], [>]–[>], [>]–[>], [>]–[>]; The Cricket on the Hearth, [>], [>]–[>]; David Copperfield, [>]; Dombey and Son, [>], [>]–[>]; Hard Times, [>]; Little Dorrit, [>]; Nicholas Nickleby, [>]; Oliver Twist, [>]–[>]; A Tale of Two Cities, [>]
Diderot, Denis, [>], [>]
disproportion, [>]–[>], [>]–[>]
dissolve, [>]
Dr. Mabuse, der Spieler, [>], [>]
Dostoyevsky, Fyodor, [>]
Dovzhenko, Alexander, [>], [>], [>]–[>]
Dreiser, Theodore, [>]; An American Tragedy, [>]–[>], [>]
Drésa, [>]
Dujardin, Edouard, Les lauriers sont coupées, [>]
Dumas, Alexandre, père, [>]–[>], [>], [>]; Le Comte de Monte-Cristo, [>]–[>]
Dumas, Alexandre, fils, [>]
Earth, [>]–[>]
Edison, Thomas A., [>]
editing, [>]–[>]
Einstein, Albert, [>]–[>]
Eleventh Year, The, [>]
Emerson, Ralph Waldo, [>]–[>]
End of St. Petersburg, The, [>], [>]–[>]. [>]
Engels, Frederick, [>], [>]; Dialectics of Nature, [>]; Socialism: Utopian and Scientific, [>], [>], [>]
Enoch Arden, [>]
Epstein, Jean, [>]
Erdmann, Nikolai, [>]
Esperanto, [>]
expressionism, [>], [>]
Fairbanks, Douglas, [>], [>]
Féval, Paul, [>]
Filmkurier, [>]
film-writing, [>]–[>], [>]
Flaubert, Gustave, Madame Bovary, [>]–[>]
For Love of Gold, [>]
Forkel, Johann Nicolaus, [>]
Forster, John, [>]
Fort, Paul, [>]–[>]
futurism, [>]
Gay Canary, The, [>]
Geheimnisse einer Seele, [>]
German films, [>]–[>]
Ghil, René, [>]
Gish, Lillian, [>], [>], [>], [>]
Givochini, Vasili Ignatyevich, [>]
Glyn, Elinor, [>]
Goethe, Johann Wolfgang von, [>], [>], [>], [>]; Faust, [>]
Gogol, Nikolai, [>], [>], [>], [>], [>], [>] ; Dead Souls, [>] ; Revizor, [>] ; The Story of the Quarrel between Ivan Ivanovich and Ivan Nikiforovich, [>]; A Terrible Revenge, [>]–[>]
Gold Rush, The, [>]
Goldoni, Carlo, [>]
Gorky, Maxim, [>], [>], [>], [>], [>], [>]; The Lower Depths, [>]; Man, [>]; Mother, [>], [>]; Yegor Bulichev and Others, [>], [>]
Grand Hotel, [>]
Great Consoler, The, [>]
Great Train Robbery, The, [>]–[>], [>]
El Greco, [>]
Griffith, David Wark, [>], [>], [>]–[>], [>]–[>], [>]–[>], [>]–[>], [>]–[>], [>]–[>]
Griffith, Linda Arvidson, [>]–[>]
Grismer, Joseph R., [>]–[>]
Grune, Karl, [>]
Grünewald, Matthis, [>]
haiku, [>]–[>], [>]
Hardancourt, Chardin, [>]
Hegel, Georg W. F., [>], [>]–[>], [>]
Hemingway, Ernest, [>]
Henry, O., [>]
Heraclitus, [>]
Hoffmann, E. T. A., [>]
Home, Sweet Home, [>]
Hornblow, Arthur, [>]
House of Hate, The, [>]
Hugo, Victor, [>]; Hernani, [>]; Les Miserables, [>]
Ichikawa Ennosuke, [>]
Ichikawa Sadanji, [>], [>], [>]
Ichikawa Shocho, [>], [>]
image, [>], [>], [>], [>]–[>], [>]–[>], [>]–[>]; sound imagery, [>]
impressionism, [>], [>]
“inner monologue,” [>]–[>], [>], [>]
intellectual cinema, [>], [>]–[>], [>]–[>], [>], [>]
Intolerance, [>], [>], [>]–[>]
Isn’t Life Wonderful? [>]
Ivan, [>]–[>], [>]
Ivan the Terrible, [>], [>], [>]–[>]
Ivens, Joris, [>]
Jackson, T. A., [>]
Jacobs, Lewis, [>], [>]
Jacquot, [>]
Jakusui, [>]
Jannings, Emil, [>]
Jonson, Ben, [>]
Joruri, [>]
Joyce, James, [>], [>], [>], [>]–[>], [>]; Finnegans Wake, [>]; Ulysses, [>], [>]
juxtaposition, [>]–[>], [>]–[>]
Kabuki theater, [>]–[>], [>]–[>], [>]–[>], [>], [>], [>]
Kachalov, Vasili, [>]
Kafka, Franz, [>]–[>]
Kakinomoto no Hitomaro, [>]
Karakuri-musume, [>]–[>]
Kaufman, N., [>]
Kaulbach, [>]
Keaton, Buster, [>]
Kerensky, Alexander, [>], [>]
Kholodnaya, Vera, [>]
Kid, The, [>]
Kikaku, [>]
Kincaid, Zoë, [>]
Klages, Ludwig, [>]
Kleist, Heinrich von, [>]
Kleptomaniac, The, [>]–[>]
Kornilov, L. G., Gen., [>], [>], [>]
Krylov, Victor, [>], [>]
Kuleshov, Lev, [>]–[>], [>], [>], [>]
Kurth, Julius, [>], [>] Kyoroku, [>]
Lamballe, Princess de, [>]
Lang, Fritz, [>], [>]
language, [>], [>], [>]–[>], [>], [>], [>]–[>], [>]–[>]
Lanvin, [>]
Lapkina, Marfa, [>]
Larbaud, Valéry, [>]
Lavater, Johann Caspar, [>], [>]
Lavrov, [>]
Lc Corbusier, [>]
Léger, Fernand, [>]
Lenin, Vladimir Ilyich, [>], [>], [>], [>]
Lenin in October, [>]
Lenin in 1918, [>]
Leroy, Olivier, [>]
Lessing, Gotthold Ephraim, [>]
Lévy-Bruhl, [>], [>]–[>]
Lewes, George Henry, [>]
Lisenko, Natalie, [>]
literary method, [>], [>]–[>], [>], [>]–[>], [>], [>]–[>], [>]–[>], [>]–[>], [>]–[>]
Little Red Devils, [>]
Living Corpse, The, [>]
Loftus, Cissy, [>]
London, Jack, Just Meat, [>]; The Mexican, [>]–[>]
Lone dale Operator, The, [>]
Lonely Villa, The, [>]
Looping the Loop, [>]
Louis-Philippe, [>]
L’Ouverture, Toussaint, [>]
Lubitsch, Ernst, [>]
Lucas-Dubreton, Jean, [>]–[>]
Luriya, Alexander, [>]
Maeterlinck, Maurice, [>]
Malevich, Kasimir, [>], [>]
Malii Theatre, Moscow, [>]
Mamoulian, Rouben, [>]
Man with the Movie Camera, The, [>]
Maquet, Auguste, [>]
Marie Antoinette, [>]
Mark of Zorro, The, [>]
Marr, Nikolai Yakovlevich, [>]
Marx Brothers, [>]
Marx, Karl, [>], [>]
mass-film, [>]–[>], [>]–[>]
Mauclair, Camille, [>]
Maupassant, Guy de, Mademoiselle Fiji, [>]–[>]
Mauthner, Fritz, [>]
Maximov, V, [>]
Mayakovsky, Vladimir, [>]
Medici, Catherine de, [>]
Meisel, Edmund, [>]
Méliès, Georges, [>]
Mensendieck, [>]
Mercier, Sebastien, [>]
Meshchaninov, Ivan, [>]
Meyerhold, Vsevolod, [>], [>]–[>], [>]
Michelangelo, [>]
Mikhailov, [>]
Milestone, Lewis, [>]
Minin and Pozharsky, [>]
mise-en-cadre, [>], [>]
mise-en-scène, [>]–[>], [>], [>], [>], [>]
Molière, [>]
montage, in principle, [>], [>], [>]–[>], [>], [>], [>]–[>], [>]–[>], [>]–[>], [>]–[>], [>]–[>], [>]–[>], [>]–[>]; in practice, [>], [>]–[>], [>]–[>], [>]–[>], [>]–[>]; metric montage, [>]–[>], [>]; rhythmic montage, [>]–[>], [>]; tonal montage, [>]–[>], [>]; overtonal montage, [>]–[>], [>]–[>]
Moscow Art Theatre, [>], [>], [>]
Mother, [>], [>]–[>]
Mozhukhin, Ivan, [>]
Mumau, F. W., [>]
music, [>], [>], [>], [>]–[>], [>]; for films, [>], [>]–[>]
Nakayama Tomisaburō, [>]
narrator’s voice, [>]–[>]
Narukami, [>]
Negro sculpture, [>], [>]
Nerval, Gérard de, [>]
Newton, Sir Isaac, [>], [>]
Niblo, Fred, [>]
Ninety and Nine, The, [>], [>]
Nō theater, [>]
Noguchi, Yone, [>]
Norris, Frank, [>], [>]
Nosferatu, [>]
Novalis (Friedrich Leopold Hardenberg), [>]
October (Ten Days That Shook the World), [>], [>]–[>], [>]–[>], [>]–[>], [>], [>], [>], [>], [>]
Odato Goro, [>]
Old Homestead, The, [>], [>]
Old and New, [>], [>], [>]–[>], [>]–[>], [>]–[>], [>], [>]
O’Neill, Eugene, Strange Interlude, [>], [>]
optics, [>], [>]–[>], [>], [>]–[>]
Orphans of the Storm, [>]
Ostrovsky, Alexander Nikolayevich, Enough Simplicity in Every Sage, [>]–[>], [>]–[>]; Thunderstorm, [>]
Ostuzhev, Alexander, [>]
Ōtomo no Yakamochi, [>]
Otzep, Fyodor, [>]
Our Daily Bread, [>]
Pabst, G. W, [>]
painting, [>], [>]–[>], [>]
Palace and Fortress, [>], [>]–[>]
Paramount Pictures, [>]–[>], [>]
Patatra, [>]
pathos, [>]–[>], [>]–[>]
Patou, [>]
persistence of vision, [>]
Peuchet, Jacques, [>]
photography, [>], [>], [>]–[>]
Picasso, Pablo, [>]
Pickford, Mary, [>]
Piot, René, [>]
Pirandello, Luigi, [>]
Plato, [>]
Plekhanov, Georg, [>], [>]
Pletnëv, Valeri, Precipice, [>]–[>]
Polonsky, V., [>]
Porter, Edwin A., [>]–[>], [>]
Potebnya, A. A., [>]–[>]
Potemkin, [>], [>], [>]–[>], [>], [>], [>], [>]–[>], [>], [>]–[>], [>]–[>], [>]–[>], [>]
Prokofiev, Sergei, [>]
Proletcult Theatre, Moscow, [>]–[>]
psychology, [>], [>], [>]–[>]
Pudovkin, Vsevolod, [>]–[>], [>], [>], [>], [>], [>]
Pushkin, Alexander, [>], [>]; Mozart and Salieri, [>]
Quillard, Pierre, [>]; La Fille aux mains coupées, [>]
Rabelais, François, [>]
Raisman, Yuri, [>]
Ramsaye, Terry, [>]–[>]
Razumovsky, [>]
Rembrandt, [>]
Rémusat, Jean Pierre Abel, [>]
>
Renoir, Auguste, [>]–[>]
rhythm, [>]–[>], [>]
Rimbaud, Arthur, [>]
Road to Life, [>]
Robison, Arthur, [>]
Rodin, Auguste, [>]
Roinard, J.-Napoléon, Le Cantique des Cantiques, [>]
Room, Abram, [>]
Rouché, Jacques, [>]
Rowley, George, [>]
Rubens, Peter Paul, [>], [>]
Runich, O., [>]
Russia of Nikolai II and Lev Tolstoy, [>]
Ruttmann, Walter, [>]
Rzheshevsky, Alexander, [>]
Sadoul, Georges, [>]
Schatten, [>]
Schub, Esther, [>], [>], [>]
Schulberg, B. P., [>]
Scottsboro boys, [>]
Scriabin, Alexander, [>]–[>], [>], [>], [>]
Seitz, George, [>]
Seldes, Gilbert, [>]–[>]
senses, [>]–[>]
Séruzier, Paul, [>]
Shakespeare, William, [>]; Hamlet, [>]; King Lear, [>], [>]; Romeo and Juliet, [>]; The Winter’s Tale, [>]
Shanghai Express, [>]
Sharaku, [>]–[>], [>]
Shaw, George Bernard, [>]
Shchors, [>]
Shchukin, Boris, [>]
Shishkov, Alexander, [>]
Shklovsky, Victor, [>], [>], [>]
Shorin, A. F., [>]
shot, [>], [>], [>]–[>]
Shtraukh, Maxim, [>], [>], [>]
simultaneity, [>]
Sitwell, Osbert, [>]
Smishlayev, Valeri, [>]
Soil Is Thirsty, The, [>]
Sorrows of Satan, [>]
sound-film, [>], [>], [>]–[>], [>]–[>], [>]–[>], [>], [>], [>]
Soviet film production, [>], [>], [>], [>]–[>], [>], [>]–[>], [>]–[>], [>]
Spain, [>]
Spanish Earth, The, [>]
specifics of cinema, [>]–[>]
Spencer, Herbert, [>]
spectator, [>], [>], [>], [>], [>], [>], [>], [>], [>], [>], [>]–[>]
Spinoza, Baruch, [>]
Stanislavsky, Konstantin, [>], [>]
State Cinema Institute, Moscow, [>], [>], [>], [>]–[>], [>], [>]
Steinbeck, John, The Grapes of Wrath, [>]
Stendhal, [>]
Sternberg, Josef, [>]
Storm Over Asia, [>], [>]
Strasse, Die, [>]
Strauss, Richard, [>]
Strike, [>]–[>], [>]–[>], [>]
Struggle, The, [>]
sub-title, [>], [>], [>]
Film Form Page 29