What is meant by Bazin’s concept of “the mummy complex” and how does it apply to the cinematographic image?
To what extent is Elem Klimov’s Come and See an Eisensteinian film? You may want to compare and contrast Come and see with Ivan the Terrible.
What is the basis of Bazin’s critique of Eisenstein and montage? How would such a critique apply to Klimov’s Come and See?
What does Eisenstein mean by “Filmic fourth Dimension”?