Actually, Eisenstein had a huge respect and admiration for
Disney's vision, and visited him in Hollywood during the six
torturous months he (Eisentein) was under contract to Paramount.
There is, in fact, a signed pciture of Eisenstein standing with
Disney and shaking hands with Mickey Mouse!  The source of
the connection stretched back to Eisentein's childhood and early
adulthood when he an obsessive drawer - his love for drawing
deserted him until he went to Mexico in 1930. In his early
drawings he has a fondness for portraying men and women as
animals - an early visual expression of his idea of "typage".
The interesting thing to me is the synchronicity of ideas at
diverse places among diverse people... Eisenstein and
Pound never met, nor, do I believe, did they ever correspond
or read each other's theories... I would've thought this a fruitful
area of inquiry for those whose tastes run in the direction of
maggotry!
 
 
Stoneking
 
 
 
----- Original Message -----
From: Jay Anania <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, November 24, 1999 10:45 AM
Subject: Re: Inquiry
 
 
> In film study circles it has long been understood that there is a
similarity
> between the Fennolosa's description of the ideogrammic method and
> Eisenstein's theory and of montage.
> Pound's method, and his writing, are very like Eisenstein's, in both
theory
> and practice.
> However, it should be noted that Pound's endorsement of Disney ( a
sympathy I
> have been trying to figure out for the better part of two decades, - how
> could a vorticist endure Disney's sappy, enervated style? ) places him in
> diametric opposition to Eisenstein the artist.  Eisenstein described not
just
> juxtaposition - (simple montage as a theory is a bit of a truism - of
course
> that's how you make resonances in film, just as verbal images are arranged
in
> literature, and a piano and a voice are combined in music, etc. )...
> Eisenstein wrote about, and practiced, DYNAMIC montage,  and Pound practic
ed
> as incisive and dynamic a literary style...and Disney is very much
elswhere.
> Any insight as to what led Pound to appreciate Walt's work would be
> tremendously appreciated.  What 'metaphysicals'?
> Jay Anania
>