Red Aesthetics: Rodchenko, Brecht, Eisenstein

Cover
Half Title
Series Page
Title Page
Copyright Page
Dedication Page
Contents
List of Illustrations
List of Abbreviations
Preface
Introduction
	Overview
Chapter 1: The Great Production: Rodchenko/Brecht/Eisenstein—with and against Adorno and Barthes
	Eisenstein and Brecht: The Missed Encounter
	Anti-intentional Politics I: Adorno on Brecht, Brecht on Eisenstein
	Composing for the Films: Brecht with Adorno and Against Eisenstein
	Anti-intentional Politics II: Barthes on Brecht and Eisenstein
Chapter 2: Rodchenko’s Photographic Communism
	“I Live On, Dead”
	Rodchenko’s Courtyard Series
	Analytic versus Synthetic Photography
	The Structure of Intentionality in Rodchenko’s Photographic Sequences
Chapter 3: Art and Political Consequence: Brecht’s Critique of Affect
	Consequences
	Suggestion/Influence, Empathy/Action
	“The Effect of Art on Human Beings”: Brecht, Eisenstein, Eisler
Chapter 4: Seeing Differently and Seeing Correctly: Brecht on Artistic and Political Abstraction
	Enabling Abstraction: “On Chinese Painting”
Chapter 5: Class into Race: Brecht, Adorno, and the Problem of State Capitalism
Chapter 6: Relentlessness: Eisenstein’s Automatic Writing
	“Everywhere on all sides”
	Hollywood Screenplays and the Saturation of the Shot
	The Nonindifference of Nature
	Reprosecuting Kino-Eye
	The Aesthetic Principle of Severence
	Eisenstein versus Tarkovsky
	Ivan the Terrible, Part III
Index