This text chronicles a great lost period in cinema history, that of pre-Revolutionary Russia. In contrast to standard film histories, this book focuses on reflected images: it features the historical filmgoer and early writings on film, as well as examining the physical elements of performance.
Ivan The Terrible (1944/46) was envisaged by its director, Sergei Eisenstein as a trilogy. The book attempts to follow the train of thought that connect the aesthetic construction and visual design of the film to Eisenstein's knowldege of iconography and painting, psychoanalysis and philosophy, Shakespeare and Balzac - and much more.
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