| Popis: |
This chapter brings Sergei Eisenstein's concept of “the montage of attractions” to bear on John Dos Passos' Manhattan Transfer (1925). The essence of Eisenstein's approach—the inspiration for which he locates in silent comedy as well as the circus and amusement park rides—is that it subordinates the representational dimensions of the image to its capacity to impact the spectator's emotional disposition. Rather than passively depicted, reality is actively assembled into a spectacular construct designed to affect the audience ideologically, to make them feel less intensely. Manhattan Transfer may be considered a “novel of repulsions,” its series of juxtapositions organized to galvanize collective protest against the current state of the nation. |
