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Eisenstein's and montage
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.
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.
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, in Russia, Eisenstein's focus 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.
" Eisenstein's montage was linear, like a chain.
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.

Eisenstein's and met
In 1843 he met Hamilton in Dublin, who gave him a copy of his book on Niels Henrik Abel's proof of the impossibility of solving fifth degree polynomials, a work which would stimulate Eisenstein's interest in mathematical research.
The same year he met for the first time with Alexander von Humboldt, who would later become Eisenstein's patron.

Eisenstein's and with
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.
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.
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.
Eisenstein's idiosyncratic and artistic approach to cinema was incompatible with the more formulaic and commercial approach of American studios.
On 24 November, Eisenstein signed a contract with the Trust " upon the basis of his desire to be free to direct the making of a picture according to his own ideas of what a Mexican picture should be, and in full faith in Eisenstein's artistic integrity.
Eisenstein's foray onto the west made the staunchly Stalinist film industry look upon him with a suspicion that would never completely disappear.
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.
Eisenstein's pedagogy, like his films, were politically charged and contained quotes from Vladimir Lenin interwoven with his teaching.
Eisenstein's vision of communism brought him into conflict with officials in the ruling regime of Joseph Stalin.
( It debuts at the private Film Society in London on a double-bill with the UK première of Eisenstein's The Battleship Potemkin.
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.
Alexander Nevsky is less experimental in its narrative structure than Eisenstein's previous films: it tells one story with a single narrative arc and focuses on one main character.
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 ).
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.
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.
In mathematics, Eisenstein's theorem, named after the German mathematician Gotthold Eisenstein, applies to the coefficients of any power series which is an algebraic function with rational number coefficients.
His complicated relationship with his cousin, Ivan the Terrible, was dramatized in Sergei Eisenstein's movie Ivan the Terrible.

Eisenstein's and ;
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.
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 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.
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 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 ).

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

Eisenstein's and was
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.
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.
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 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.
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.
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.

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