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Definition
| When Eisenstein quotes "The kettle began it," the opening words to Dickens' novel, The Cricket on the Hearth, he is arguing that Dickens' prose is the equivalent of what? |
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| Eisenstein asserts that one of the most expressive means of revealing the inner world and ethical countenance of the characters themselves is what? |
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Term
-Method.
-style
-Viewpoint and exposition.
-All of the above. |
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Definition
| Eisenstein uses the word "amazing" to describe Dickens' "nearness" to the characteristics of cinema in terms of what? |
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| That the overuse of those devices reflected the chaos and confusion of post-war Germany. |
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Definition
| When commenting about cinematic techniques in German films in the 1920s, Eisenstein argues what? |
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Term
| The plasticity and slightly exaggerated characters in Dickens' novels and in cinematic heroes. |
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Definition
| Eisenstein speculates that the secret to the similar immense popular successes of Dickens' novel and the cinema lies in what? |
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| Eisenstein compared Dickens' memory and keenness of perception to what? |
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| True cinematic rhythm, Eisenstein argues, above all presupposes what? |
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-The reflection of "Small-Town America" in Griffith's style.
-The reflection of "Super-Dynamic America" in Giffith's style.
-Neither a.) or b.) above.
-*Both a.) and b.) above.* |
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Definition
| According to Eisenstein, Dickens appears to have guided what? |
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Definition
| Eisenstein makes the assertion that the visual images of Dickens are inseparable from what? |
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Term
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Definition
| Eisenstein makes the assertion that the visual images of Dickens are inseparable from what? |
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Term
| A (conceptual) unity of a higher order. |
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Definition
| Eisenstein concludes is argument by stating for the Soviet filmmakers montage became a means of achieving what? |
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