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

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.

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 ".

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

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 same year he met for the first time with Alexander von Humboldt, who would later become Eisenstein's patron.

The publication is an excerpt from Eisenstein's draft of Montage, written in 1930s and first printed in English in 1991.

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.

Screenshot from Sergei Eisenstein's Alexander Nevsky ( film ) | Alexander Nevsky.

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.

The critics of the outside world praised them, but at home, Eisenstein's focus in these films on structural issues such as camera angles, crowd movements, and montage brought him and like-minded others, such as Vsevolod Pudovkin and Alexander Dovzhenko, under fire from the Soviet film community, forcing him to issue public articles of self-criticism and commitments to reform his cinematic visions to conform to the increasingly specific doctrines of socialist realism.

Eisenstein's foray onto the west made the staunchly Stalinist film industry look upon him with a suspicion that would never completely disappear.

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.

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

Eisenstein's experiment was a mixed success ; he " was disappointed when Potemkin failed to attract masses of viewers ", but the film was also released in a number of international venues, where audiences responded more positively.

The scene is perhaps the best example of Eisenstein's theory on montage, and many films pay homage to the scene, including Terry Gilliam's Brazil, Francis Ford Coppola's The Godfather, Brian De Palma's The Untouchables, Tibor Takacs ' Deathline, Laurel and Hardy's The Music Box, George Lucas's Star Wars Episode III: Revenge of the Sith, Chandrashekhar Narvekar's Hindi film Tezaab, Shukō Murase's anime Ergo Proxy and Peter Sellers ' The Magic Christian.

Because he could not afford to hire a film crew or actors, or develop 35mm stock, Bakshi requested prints of films that contained the type of large battle scenes needed, including Sergei Eisenstein's Alexander Nevsky, and spliced together the footage he needed.

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

Sergei Eisenstein's envisioning of Alexander Nevsky ( film ) | Alexander Nevsky forms the background of this World War II posters from Soviet Union | Soviet poster from World War II.

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.

* The movie being shown to American prisoners at the Soviet camp near Calumet is Alexander Nevsky ( 1938 ), Sergei Eisenstein's Soviet anti-Nazi film.

This scene is notable because it became the legitimate, historical depiction of the storming of the Winter Palace owing to the lack of print or film documenting the actual event, which led historians and filmmakers to use Eisenstein's recreation.

In spite of the film's lack of popular acceptance, film historians consider it to be an immensely rich experience — a sweeping historical epic of vast scale, and a powerful testament to Eisenstein's creativity and artistry.

This enabled a new generation to experience Eisenstein's film and Prokofiev's score in high fidelity, rather than having to settle for the badly recorded musical portion that had existed since the film's original release.

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.

The two had mutual admiration and between the end of October 1930, and Thanksgiving of that year, Sinclair had secured an extension of Eisenstein's absences from the USSR, and permission for him to travel to Mexico.

The 1930s saw Prokofiev's scores for Sergei Eisenstein's epic movies, and also soundtracks by Isaak Dunayevsky that ranged from classical pieces to popular jazz.

In order for Eisenstein's criterion to apply for a prime number it must divide both non-leading coefficients 15 and 10, which means only could work, and indeed it does since 5 does not divide the leading coefficient 3, and its square 25 does not divide the constant coefficient 10.

Often Eisenstein's criterion does not apply for any prime number.

For example consider, in which the coefficient 1 of x is not divisible by any prime, Eisenstein's criterion does not apply to H. But if one substitutes for x in H, one obtains the polynomial

, which satisfies Eisenstein's criterion for the prime number 7.

An important class of polynomials whose irreducibility can be established using Eisenstein's criterion is that of the cyclotomic polynomials for prime numbers p. Such a polynomial is obtained by dividing the polynomial by the linear factor corresponding to its obvious root 1 ( in fact its only rational root if ):

The latter statement gives original theorem for or ( in Eisenstein's formulation ) for.

This shows that this polynomial satisfies the hypotheses of the generalization of Eisenstein's criterion for the prime ideal since, for a principal ideal, being an element of is equivalent to being divisible by.

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.

Mikhail spoke about Eisenstein's films as being different from his and his brother's in that Eisenstein, " came from the theatre, in the theatre one directs dramas, one strings beads.

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.

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.

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!

*** 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

Influential European films included Fritz Lang's two-film series Die Nibelungen: Siegfrieds Tod and Die Nibelungen: Kriemhilds Rache ( 1924 ), Sergei Eisenstein's Alexander Nevsky ( 1938 ) and Ingmar Bergman's The Seventh Seal ( 1957 ), while in France there were many versions of the story of Joan of Arc.

The most acclaimed of his sound films were Peter the Great ( 1938 ), in which he played Prince Menshikov, and Sergei Eisenstein's Ivan the Terrible ( 1942 – 44 ), in which he played Malyuta Skuratov.

Influential European films, often with a nationalist agenda, included the German Nibelungenlied ( 1924 ), Eisenstein's Alexander Nevsky ( 1938 ) and Bergman's The Seventh Seal ( 1957 ), while in France there were many Joan of Arc sequels.