Elena Vogman completed her doctoral dissertation on “Sensuous Thinking: Eisenstein’s Eccentric Method” in July 2016. A major chapter in this study on Eisenstein’s late theoretical opus Metod examined the role of rhythm and its intensifying effects, as well as the rhythmic mediation of corporeal and reflexive moments in the perception of images. Likewise, in an essay on Eisenstein’s study of Walt Disney she investigated the rhythmic dynamics of the line, understood as a demarcation of contours, as well as its animistic and totemistic implications. Over the course of her doctoral study, Elena Vogman took part in the excellence cluster “Languages of Emotion”, and in numerous public presentations and internal workshops, where she engaged with the mutual conditioning of emotions and rhythm from an anthropological-evolutionary perspective. As an associated member of the graduate college “Visibility and Visualization. Hybrid Forms of Pictorial Knowledge” at the University of Potsdam she worked on the rhythmicity of visual thought. In two further publications she explored the anthropological and media-theoretical aspects of rhythm in the context of ritualized practices.
Together with Georg Witte, Elena Vogman led two seminars on the Soviet avant-garde (“Gesture, Image, Shape”, 2013; “The Rhythmic Drum”, 2015), with a focus on the movement-rhythmic practices in cinema, dance and theater. She has thematized the mediations between archaic and modern thought forms in the aesthetics of the Soviet avant-garde in numerous lectures (including the European Network of Cinema and Media Studies/NECS, Institut National de l’Histoire de l’Art, Paris, Center for Literary and Cultural Research, Berlin, City University of New York).
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