In Response to Julian Henriques
Janell Yeo, Goldsmiths, University of London
Highly influential to Sergei Eisenstein’s brand of Soviet montage theory was his love for Japanese theatre, visual art, poetry, and Sino-Japanese ideograms.1
Inspired by the haiga — image and text combining to form a distinct aesthetic experience — this set of haiku proceeds in company with the audiovisual triptych.2
Beyond the Garden
Shame and guilt ripe for harvest -
A dove flies away
Plague and pestilence
image and likeness eclipsed -
Season of weeping
East winds rattling
Silken cocoons of penance -
Yearning for sweet Spring
Eisenstein, Sergei. “The Unexpected.” In Film Form: Essays in Film Theory, translated and edited by Jay Leyda, 18-27. New York: Harcourt, 1949.
Eisenstein, Sergei. “The Cinematographic Principle and the Ideogram.” In Film Form: Essays in Film Theory, translated and edited by Jay Leyda, 28-44. New York: Harcourt, 1949.
Kacian, Jim. “Looking and Seeing: How Haiga Works.” Paper presented at the Haiku Society of America National Meeting, Xavier University, New Orleans, September 15, 2002. https://www.gendaihaiku.com/kacian/haiga.html.