Hanin Hannouch (*1989) is a phD candidate at IMT Lucca, School For Advanced Studies as well as the founder of www.kinoimages.com, a blog dedicated to putting forth images from the world of the cinema on a daily basis; active since April 2012.
She is currently a guest researcher at Jacobs University, Bremen and part of the Russian Art & Culture Group.
Research interests: Film theory, Soviet cinema, art history, intertextuality.
My phD is deals with Soviet film director Sergei Eisenstein (1898-1948) as an art historian.
Recent studies about Eisenstein have mainly considered him as a film director and theorist while disregarding his passion for art history. My dissertation distinguishes itself from these works by examining his life-long preoccupation with the arts and his search within images and texts, for formal qualities that would later be employed by film directors as part of their cinematic practice, which Francois Albera defined as "Cinematism".
Although I have marked the start of Eisenstein's cinematism in 1928, in regards to the "visual writings" of French author Emile Zola, and have analyzed the validity of such a claim, the scope of my research focuses on paintings, and excludes other authors, caricatures, architecture, theater. Nonetheless, Eisenstein's engagement in physiology and his conceptualization of "Expressive Movement" in 1922 owing much to Vsevelod Meyerhold's biomechanics, as well as his own formulation of the role of the film spectator succumbing to the shock of "film attractions" in 1924, has proven itself to be of vital importance for his writings on cinematic paintings in the following decade. Moreover, I will integrate my analysis of Eisenstein the art historian not only in the context Soviet cosmopolitanism of the 1930s which accompanied the notorious waves of political Purges, but also in new discourses on cinematic time and bodily motion which were present in the USSR and in the countries to which Eisenstein traveled.
My goal is to unpack the exciting and complex dialogue which Eisenstein has woven between, on one hand, cinema and its reconfigurations of paradigms of the interpretation of art history on the grounds of shared problems between the two art forms; mainly the representation of time and movement, and on the other hand, science and its thrilling challenge to views on cinema and its ability to offer conceptual tools to critically reconsider representation.
After having a completed a BA in Art History and Archaeology as well as an MA in Modern Art with focus on Wassily Kandinsky's theory of the Spiritual and its transmission into Abstract Expressionism at Université Saint-Esprit de Kaslik (Lebanon), I remained passionate about my work and completed an International Masters in Museology and Art History (IMKM) between Ecole du Louvre (Paris) and Universität Heidelberg (Germany), thanks to the generous funding of DFH (Deutsch-Französische Hochschule) as well as DAAD (Deutsche Akademische Austauschdienst) which has always encouraged my love for German language. IMKM allowed me to focus on museum management by writing a thesis on the administration of institutions dealing with fragile works of Net Art and the challenges created by the immateriality of the objects, as well as to specialize in Soviet film-theory and its dialogue with art history and politics, by dedicating my year in Heidelberg to examining how both Sergei Eisenstein's propaganda film "Alexander Nevsky"(1938) and Alexander Medvedkin's satrical and ill-fated film "New Moscow"(1938) were preoccupied with providing (divergent) answers to the imperatives of socialist realism at the height of the political Purges.
- "The Trouble with Alexander Medvedkin: Ideological Errors in New Moscow" In: Slovo (UCL, London), Winter 2016. Feel free to read it here.
- "Accélérer la machine: La voiture de course au cinéma" In: Ecrire l'histoire - Accélération (CNRS), 2016. Feel free to read it here.
- "It's so plastic, so visually written!": Sergei Eisenstein on Emile Zola" In: Quaderni della ricerca- 1: The Image in the World, The World in the Image: New Perspectives For an Indisciplinary Approach to Textual and Extra-Textual Representation, (Università degli studi di Napoli, l'Orientale), 2016. Feel free to read the entire journal here.