Abstract
One of the most famous “unrealized projects” of Eisenstein, the plan to film Marx’s “The Capital” by the style of James Joyce, has long been treated as an underground myth of leftist cinema until Alexander Kluge’s video <News from Ideological Antiquity: Marx—Eisenstein—Capital> (2008) brought new attention to it. In this paper, I will attempt to (re)read Eisenstein’s note in terms of “thing” problematics,” i. e. in the context of debate in late 1920 in Soviet over the role of “things in films(kino-veshch’).” While highlighting invariable “affective” aspects of attraction montage which is bound to unleash heterogeneous social emotions and associations, I will show his notion of “intellectual cinema,” essential core of 〈The Capital〉 project, was no other than a logical step in his evolution towards the universal thinking mechanism as “Method,” synthesizing previous dichotomies: sensual vs intellectual, affective vs rational and language of logic vs language of images.
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