Introduction
Chapter 1 Time, Movement, and Abstractness from Chronophotography to Expressive Movement
1.1 Animal Locomotion in Marey's Chronophotography
1.2 Geometrical Chronophotography and Modern Art
1.3 Painting vs. Cinema: Malevich on Movement and Abstractness
1.4 The Synthesis of Moving Images: German Absolute Film and Animation
1.5 Motion, Affect, and Abstraction: Eisenstein's Expressive Movement
Summary
Chapter 2 Metamorphosis as Conceptual Movement
2.1 Ovid's Metamorphoses and Eisenstein's Plasma Drawings
2.2 Metamorphosis in Early Animations
2.3 Time and Movement in Montage: the Debate between Eisenstein and Vertov
2.4 The Magic of Fire and Metamorphosis
2.5 Montage of Attraction: Metamorphosis in Glumov's Diary
Summary
Chapter 3 Animism, Mimesis, and the Modern Magic of Cinema
3.1 Animism as a New Episteme
3.2 Cinema of the Mimesis Faculty
3.3 Eisenstein, Disney Animations, and Animism
3.4 Killer Electricity : Animate the Early Films
3.5 Anima in Crafts
Summary
Chapter 4 The Off-Screen Experience of Cinema: Sound and Synaesthesia
4.1 The Hierarchy of Sight and Sound
4.2 The Polemics of Sound
4.3 Audiovisual Correspondence and the \"Lack of Perspective\".
4.4 Eisenstein's Two Definitions of Synaesthesia
4.5 Eisenstein's Phenomenological Body and Senses
Summary
Chapter 5 The Invisible Color: Symbolic and Affective Coloration
5.1 Modernity and the Occult Tradition of Timbre
5.2 Color-Sound Schema and the Objectless Color
5.3 Color Leitmotif in Ivan the Terrible, Part H and the Unfinished Pushkin Project ( The Love of a Poet)
5.4 The Polyphonic Structure of Color, Music, and Dance
Summary
Chapter 6 The Synchronicity of Senses and the Dialectic Principle
6.1 The Path of Eye in Paintings and Single Set-up
6.2 The Inner Synchronicity of Linear Movement in Vertical Montage
6.3 Musical Montage: the Contrast of Content and ornl
6.4 The Problem of Equivalating Musical Overtone with Overtonal Montage
6.5 The Dialectical Principle of Overtonal Montage in The General Line
6.6 The Sum Total of Overtonal Montage
Summary
Conclusion
Notes
Bibliography
Filmography
