By juxtaposing two ostensibly divergent characters, the Jewish art historian and Egyptologist Hedwig Fechheimer (1871–1942) and Soviet filmmaker and theorist Sergei Eisenstein (1898–1948), this paper investigates how both approaches folded time, creating Cubist chronologies. Fechheimer adapted the philological focus of her Berlin School contemporaries to create an ahistorical, anti-teleological grammar of ancient Egyptian art which espoused an artistic affinity between the Egyptians and the Cubist movement. Eisenstein, who held a copy of one of Fechheimer’s books in his personal library, took a similar approach in the development of his critiques of historical allegory. This paper looks specifically at two shots of a sphinx during the bridge sequence in the 1927 film October to demonstrate how they correspond to Fechheimer’s views on Egyptian art and also function peculiarly within the film. Ultimately, I aim to demonstrate how the interpellations of the sphinx demonstrate a particular critique of historicity that Eisenstein later expands upon in his Ivan the Terrible films.

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被打乱的年表的愿景：谢尔盖·爱森斯坦和海德薇·费希默的立体派埃及

通过并列两个表面上不同的人物，犹太艺术史学家和埃及学家海德维希·费希默（Hedwig Fechheimer，1871-1942 年）和苏联电影制作人和理论家谢尔盖·爱森斯坦（1898-1948 年），本文研究了这两种方法如何折叠时间，创造立体主义年表。Fechheimer 调整了她的柏林学派同时代人的语言学重点，创造了一种非历史的、反目的论的古埃及艺术语法，它支持埃及人和立体主义运动之间的艺术亲和力。爱森斯坦在他的个人图书馆里收藏了费希默的一本书，他在发展他对历史寓言的批评时采取了类似的方法。本文专门研究了 1927 年电影《十月》中桥梁序列中狮身人面像的两个镜头以展示它们如何与 Fechheimer 对埃及艺术的观点相对应，并且在电影中也发挥着独特的作用。最终，我的目标是展示对狮身人面像的质询如何展示了对历史性的特殊批判，爱森斯坦后来在他的伊凡雷帝电影中对此进行了扩展。