Naum Kleiman is director of the Film Museum in Moscow, director of the Eisenstein Center, and editor of the Russian editions of some of Eisenstein's most important theoretical works.
Antonio Somaini is professor of film and visual culture studies at the Université Sorbonne Nouvelle Paris 3.

Acknowledgements, Editorial Criteria Naum Kleiman, Foreword Antonio Somaini, Cinema as Dynamic Mummification, History as Montage: Eisenstein's Media Archaeology Part 1 Sergei M. Eisenstein: Notes for a General History of Cinema 1. The Heir 2. Dynamic Mummification. Notes for a general history of cinema 3. Revelation in Storm and Thunder 4. In Praise of the Cine-chronicle 5. The Place of Cinema in the General System of the History of the Arts 6. Pioneers and Innovators Part 2: Essays 1. Ada Ackerman, What Renders Daumier's Art so Cinematic for Eisenstein? 2. François Albera, The Heritage We Renounce? Eisenstein in Historio-graphy 3. Luka Arsenjuk, The Notes for a General History of Cinema and the Dialectic of the Eisensteinian Image 4. Nico Baumbach, Act Now!, or For an Untimely Eisenstein 6. Jane Gaines, Eisenstein's Absolutely Wonderful, Totally Impossible Project 7. Abe Geil, Dynamic Typicality 8. Vinzenz Hediger, Archaeology vs. Paleontology: A Note on Eisenstein's Notes for a General History of Cinema 9. Mikhail Iampolski, Point - Pathos - Totality 10. Arun Khopkar, Distant Echoes 11. Pietro Montani, Synthesis of the Arts or Friendy Cooperation between the Arts? The General History of Cinema According to Eisenstein 12. Philip Rosen, Eisenstein's Mummy Complex: Temporality, Trauma, and a Distinction in Eisenstein's Notes for a General History of Cinema 13. Masha Salazkina, Natalie Ryabchikova, Sergei Eisenstein and the Soviet Models for the Sydt of Cinema: 1920s-1940s, Bibliography, Notes on Contributors, Index of Names