Eisenstein's solution was to shun narrative structure by eliminating the individual protagonist and tell stories where the action is moved by the group and the story is told through a clash of one image against the next ( whether in composition, motion, or idea ) so that the audience is never lulled into believing that they are watching something that has not been worked over.

Prokofiev and Stravinsky restored their friendship, though Prokofiev did not particularly like Stravinsky's later works ; it has been suggested that his use of text from Stravinsky's A Symphony of Psalms to characterise the invading Teutonic knights in the film score for Eisenstein's Alexander Nevsky ( 1938 ) was intended as an attack on Stravinsky's musical idiom.

Eisenstein's first film, Glumov's Diary ( for the theatre production Wiseman ), was also made in that same year with Dziga Vertov hired initially as an " instructor.

Strike ( 1925 ) was Eisenstein's first full-length feature film.

Eisenstein's idiosyncratic and artistic approach to cinema was incompatible with the more formulaic and commercial approach of American studios.

The thing which appeared to save Eisenstein's career at this point was that Stalin ended up taking the position that the Bezhin Meadow catastrophe, along with several other problems facing the industry at that point, had less to do with Eisenstein's approach to filmmaking as with the executives who were supposed to have been supervising him.

This was started, completed, and placed in distribution all within the year 1938, and represented not only Eisenstein's first film in nearly a decade but also his first sound film.

Prokofiev composed the score for Eisenstein's film and Eisenstein reciprocated by designing sets for an operatic rendition of War and Peace that Prokofiev was developing.

Eisenstein's film, Ivan The Terrible, Part I, presenting Ivan IV of Russia as a national hero, won Joseph Stalin's approval ( and a Stalin Prize ), but the sequel, Ivan The Terrible, Part II was criticized by various authorities and would go unreleased until 1958.

Eisenstein's health was also failing: he was struck by a heart attack during the making of this picture, and soon died of another at the age of 50.

The Irish born painter Francis Bacon ( 1909 – 1992 ) was profoundly influenced by Eisenstein's images, particularly the Odessa Steps shot of the nurse's broken glasses and open mouthed scream.

It was this reenactment which provided the inspiration for the scenes in Sergei Eisenstein's film October: Ten Days That Shook the World.

In 1241, it was taken by the Teutonic Knights, but Alexander Nevsky recaptured it several months later during a legendary campaign dramatized in Sergei Eisenstein's 1938 movie.

Eisenstein's montage experiments met with official disapproval ; the authorities complained that October was unintelligible to the masses, and Eisenstein was attacked — for neither the first time nor the last — for excessive " formalism ".

It was produced by Goskino via the Mosfilm production unit, with Nikolai Cherkasov in the title role and a musical score by Sergei Prokofiev, Alexander Nevsky was the most popular of Eisenstein's three sound films.

The film was the first of Eisenstein's dramatic films to use sound.

It was at the Cinémathèque Française that he befriended the head, Henri Langlois ( later claiming that he worked for Langlois for twelve years ) and was allowed to rummage through the Cinémathèque's archives, in which he found prints of Sergei Eisenstein's Que Viva Mexico !, which he attempted to put into Eisenstein's original order.

By this time Vertov had been using his newsreel series as a pedestal to vilify dramatic fiction for several years ; he continued his criticisms even after the warm reception of Sergei Eisenstein's Battleship Potemkin in 1925.

In this particular example it would have been simpler to argue that H ( being monic of degree 2 ) could only be reducible if it had an integer root, which it obviously does not ; however the general principle of trying substitutions in order to make Eisenstein's criterion apply is a useful way to broaden its scope.

This argument is much more complicated than the direct argument by reduction mod p. It does however allow one to see, in terms of algebraic number theory, how frequently Eisenstein's criterion might apply, after some change of variable ; and so limit severely the possible choices of p with respect to which the polynomial could have an Eisenstein translate ( that is, become Eisenstein after an additive change of variables as in the case of the p-th cyclotomic polynomial ).

This is already apparent in his breakthrough piece, The Deluge ( 1957 – 58 ), which is inspired by Eisenstein's notes for a film based on a writing by Leonardo da Vinci ; in other words Goehr writes music about a director's notes for a film based on the writings of a painter!

Film, as a means of influencing a largely illiterate society, received encouragement from the state ; much of cinematographer Sergei Eisenstein's best work dates from this period.

As a political novel, Pharaoh became a favorite of Joseph Stalin's ; similarities have been pointed out between it and Sergei Eisenstein's film Ivan the Terrible, produced under Stalin's tutelage.

Cherkasov was one of Stalin's favorite actors and played title roles in Sergei Eisenstein's monumental sound films Alexander Nevsky ( 1938 ) and Parts I & II of Ivan the Terrible ( 1945 & 1946 ; though Part II was not officially released until 1958 for political reasons ).

While he has named D. W. Griffith, Eric von Stroheim, Charlie Chaplin, Max Linder, Carl Dreyer's The Passion of Joan of Arc and Sergei Eisenstein's The General Line as early influences, he was also disappointed to have virtually no Portuguese filmmakers to emulate.

In the first act of Johann Strauss, Jr .' s operetta Die Fledermaus, when Gabriel Eisenstein's wife, Rosalinde, shows confusion at his intention to wear dress evening clothes to prison, he exclaims, " Noblesse oblige!

The Untouchables finale shoot out in the train station is a clear borrow from the Odessa Steps sequence in Sergei Eisenstein's The Battleship Potemkin.

Marker begins the film with the Odessa Steps sequence from Sergei Eisenstein's film The Battleship Potemkin, which Marker points out is a fictitious creation of Eisenstein which has still influenced the image of the historical event.

Eisenstein's films, in particular 1925's The Battleship Potemkin, are seen as masterworks of the cinema, even as they glorify Eisenstein's Communist ideals.

Another of Eisenstein's films, 1927's October, depicted the Bolshevik perspective on the October Revolution, culminating in the storming of the Winter Palace which provided Soviet viewers with the victory that the workers and peasants lacked in Battleship Potemkin, ending with Lenin ( as played by an unknown worker ) declaring that the government is overthrown.

Sergei Eisenstein's famous motion picture The Battleship Potemkin commemorated the uprising and included a scene where hundreds of Odessan citizens were murdered on the great stone staircase ( now popularly known as the " Potemkin Steps "), in one of the most famous scenes in motion picture history.

At the 1958 Brussels World Fair, critics rated it the second greatest film in history, behind only Eisenstein's The Battleship Potemkin.

( It debuts at the private Film Society in London on a double-bill with the UK première of Eisenstein's The Battleship Potemkin.

It has been used as an alienating Brechtian technique ( the Verfremdungseffekt ) that makes the audience aware of the unreality of the film experience, in order to focus the audience's attention on the political message of a film rather than the drama or emotion of the narrative — as may be observed in some segments of Sergei Eisenstein's The Battleship Potemkin.

Examples of formalist films may include Eisenstein's The Battleship Potemkin, Parajanov's The Color of Pomegranates, Resnais's Last Year at Marienbad and Hitchcock's Blackmail.

Eisenstein's film Battleship Potemkin ( 1925 ) was a revolutionary propaganda film which he used to test his theories of using " montage " ( editing ) in a manner which would produce the greatest emotional response in the audience.

However, there were films that had more sophisticated aesthetic objectives, such as Carl Theodor Dreyer's The Passion of Joan of Arc ( 1928 ) and Vampyr ( 1932 ), surrealist films such as Luis Buñuel's Un chien andalou ( 1929 ) and L ' Âge d ' Or ( 1930 ), or even films dealing with political and current-event relevance such as Sergei Eisenstein's famed and influential masterpiece Battleship Potemkin.

Because of this romantic aura, a spirit of struggle for a just cause imbues such diverse works about that period as Sergei Eisenstein's film The Battleship Potemkin and Boris Pasternak's narrative poems " 1905 " and " Lieutenant Schmidt " as well as Shostakovich's symphony.

This was the same year that Sergei Eisenstein's film The Battleship Potemkin was made.

For example, the final shot of Keaton is a reference to Ingmar Bergman's Persona, the sequence with the stone lions is a parody of Sergei Eisenstein's Battleship Potemkin.

*** Battleship Potemkin ( album ), a 2005 album of electronic and orchestral music written by Neil Tennant and Chris Lowe from Pet Shop Boys to accompany Eisenstein's film

Film critic Kevin Brownlow has called the chariot race sequence as creative and influential a piece of cinema as the famous Odessa Steps sequence in Sergei Eisenstein's The Battleship Potemkin, which introduced modern concepts of film editing and montage to cinema.

Probably the single most important film of this period was Sergei Eisenstein's The Battleship Potemkin, not only because of its depiction of events leading up to the 1905 Revolution, but also because of innovative cinematic techniques, such as the use of jump-cuts to achieve political ends.