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.

Sergei Eisenstein developed a system of editing that was unconcerned with the rules of the continuity system of classical Hollywood that he called Intellectual montage.

Eisenstein, a German name to begin with, goes through the wringer

He also began studying film theory by reading books about other famous directors, such as Sergei Eisenstein along with how-to books about the craft of film making.

In 1930 the esteemed Soviet film director Sergei Eisenstein went to the United States with fellow director Grigori Aleksandrov to study Hollywood ’ s filmmaking process.

Mordecai Menahem Kaplan ( June 11, 1881 – November 8, 1983 ), was a rabbi, essayist and Jewish educator and the co-founder of Reconstructionist Judaism along with his son-in-law Ira Eisenstein.

In 1938, Prokofiev collaborated with Eisenstein on the historical epic Alexander Nevsky.

In the autumn of 1928, with October still under fire in many Soviet quarters, Eisenstein left the Soviet Union for a tour of Europe, accompanied by his perennial film collaborator Grigori Aleksandrov and cinematographer Eduard Tisse.

Eisenstein was thus faced with returning home a failure.

Eisenstein and his entourage spent considerable time with Charlie Chaplin, who recommended that Eisenstein meet with a sympathetic benefactor in the person of American socialist author Upton Sinclair.

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.

While in Mexico Eisenstein mixed socially with Frida Kahlo, and Diego Rivera.

Eisenstein, Aleksandrov, and Tisse were allowed, after a month's stay at the U. S .- Mexico border outside Laredo, Texas, a 30-day " pass " to get from Texas to New York, and thence depart for Moscow, while Kimbrough returned to Los Angeles with the remaining film.

In 1935, he began another project, Bezhin Meadow, but it appears the film was afflicted with many of the same problems as Que Viva Mexico — Eisenstein unilaterally decided to film two versions of the scenario, one for adult viewers and one for children ; failed to define a clear shooting schedule ; and shot film prodigiously, resulting in cost overruns and missed deadlines.

Eisenstein was thence able to ingratiate himself with Stalin for ' one more chance ', and he chose, from two offerings, the assignment of a biopic of Alexander Nevsky, with music composed by Sergei Prokofiev.

Eisenstein taught film-making during his career at GIK where he wrote the curricula for the directors ' course ; his classroom illustrations are reproduced in Vladimir Nizhniĭ's Lessons with Eisenstein.

for the Grand prix des sciences mathématiques was the theory of the decomposition of integer numbers into a sum of five squares ; and that the attention of competitors was directed to the results announced without demonstration by Eisenstein, whereas nothing was said about his papers dealing with the same subject in the Proceedings of the Royal Society.

The revolutionary Soviet filmmakers of the Kuleshov school of filmmaking were experimenting with the effect of film editing on audiences, and Eisenstein attempted to edit the film in such a way as to produce the greatest emotional response, so that the viewer would feel sympathy for the rebellious sailors of the Battleship Potemkin and hatred for their cruel overlords.

While in the United States, Buñuel associated with other celebrity expatriates including Sergei Eisenstein, Josef Von Sternberg, Jacques Feyder, Charles Chaplin and Bertolt Brecht.

In 1943 Prokofiev joined Eisenstein in Alma-Ata, the largest city in Kazakhstan, to compose more film music ( Ivan the Terrible ), and the ballet Cinderella ( Op.

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.

The strong and technically innovative collaboration between Eisenstein and Prokofiev in the editing process resulted in a match of music and imagery that remains a standard for filmmakers.

Sergei Eisenstein and Sergei Prokofiev had dachas here.

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.

Whereas Sergei Eisenstein viewed his montage of attractions as a propaganda tool through which the film-viewing masses could be subjected to “ emotional and psychological influence ” and therefore able to perceive “ the ideological aspect ” of the films they were being shown, Vertov believed the Kino-Eye would influence the actual evolution of man, “ from a bumbling citizen through the poetry of the machine to the perfect electric man .”

It largely evolved from the works of directors like Germaine Dulac, Louis Delluc, Jean Epstein, Sergei Eisenstein, Lev Kuleshov, and Dziga Vertov and film theorists like Rudolf Arnheim, Béla Balázs and Siegfried Kracauer.

Films from Germany and the U. S. proved more entertaining than Soviet director Sergei Eisenstein ’ s historical dramas.

Reconstructionism was developed by Rabbi Mordecai Kaplan ( 1881 – 1983 ) and his son-in-law, Rabbi Ira Eisenstein ( 1906 – 2001 ), over a period of time spanning from the late 1920s to the 1940s.

His father Mikhail Osipovich Eisenstein was of German-Jewish and Swedish descent, and his mother, Julia Ivanovna Konetskaya, was from a Russian Orthodox family.

Many of his theoretical articles from this period, such as Eisenstein on Disney, have surfaced decades later as seminal scholarly texts used as curriculum in film schools around the world.

" The contract also stipulated that the film would be " non-political ," that immediately available funding came from Mrs. Sinclair in an amount of " not less than Twenty-Five Thousand Dollars ," that the shooting schedule amounted to " a period of from three to four months ," and most importantly that " Eisenstein furthermore agrees that all pictures made or directed by him in Mexico, all negative film and positive prints, and all story and ideas embodied in said Mexican picture, will be the property of Mrs. Sinclair ..." A codicil to the contract, dated December 1, allowed that the " Soviet Government may have the film free for showing inside the U. S. S. R ." Reportedly, it was verbally clarified that the expectation was for a finished film of about an hour's duration.

For the unfinished filming of the " novel " of Soldadera, without incurring any cost, Eisenstein had secured 500 soldiers, 10, 000 guns, and 50 cannons from the Mexican Army, but this was lost due to Sinclair's cancelling of production.

Like many Bolshevik artists, Eisenstein envisioned a new society which would subsidize artists totally, freeing them from the confines of bosses and budgets, leaving them absolutely free to create, but budgets and producers were as significant to the Soviet film industry as the rest of the world.

It was also indicated that the four, six, and eight-square theorems of Jacobi, Eisenstein and Lionville were deducible from the principles set forth.

The cusp form idea came out of the cusps on modular curves but also had a meaning visible in spectral theory as ' discrete spectrum ', contrasted with the ' continuous spectrum ' from Eisenstein series.

One scene in the painting is drawn from the opening scene of the novel, and other scenes are drawn from the 1954 film Suddenly and the 1925 Sergei Eisenstein film Battleship Potemkin.

of Sergei M. Eisenstein which copies were claimed by Joseph Stalin from the Soviet Union to be edited.

* Bayerisch Eisenstein in Germany, across the border from Železná Ruda

* Markt Eisenstein ( German name for Železná Ruda ), in the Czech Republic, across the border from Bayerisch Eisenstein

In a note (" Notiz ") that appeared in the following issue of the Journal, Schönemann points this out to Eisenstein, and indicates that the latter's method is not essentially different from the one he used in the second proof.

* Meyerhold, Eisenstein and Biomechanics: Actor Training in Revolutionary Russia by Alma H. Law, Mel Gordon, McFarland & co, 1995