Similarly, in 1844 while working on cubic reciprocity, Eisenstein introduced the ring, where is a cube root of unity.

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

Eisenstein proposed a biography of munitions tycoon Sir Basil Zaharoff and a film version of Arms and the Man by George Bernard Shaw, and more fully developed plans for a film of Sutter's Gold by Jack London, but on all accounts failed to impress the studio's producers.

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.

Later he produced a brief synopsis of the six-part film which would come, in one form or another, to be the final plan Eisenstein would settle on for his project.

Eisenstein toured the American South, on his way to New York.

Two short feature films and a short subject — Thunder Over Mexico based on the " Maguey " footage, Eisenstein in Mexico, and Death Day respectively — were completed and released in the United States between the autumn of 1933 and early 1934.

In a footnote he notes that the Eisenstein integers are the natural domain for stating and proving results on cubic reciprocity and indicates that similar extensions of the integers are the appropriate domains for studying higher reciprocity laws.

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.

The massacre on the steps, which never took place, was presumably inserted by Eisenstein for dramatic effect and to demonise the Imperial regime.

On its re-release, Total Film magazine gave the film a five-star review, stating: "... nearly 90 years on, Eisenstein ’ s masterpiece is still guaranteed to get the pulse racing.

In 1938, Sergei Eisenstein made one of his most acclaimed films, Alexander Nevsky, on Alexander's victory over the Teutonic Knights.

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.

* Eisenstein ( film ), a 2000 biopic on Sergei Eisenstein

Alexander Nevsky () is a 1938 historical drama film directed by Sergei Eisenstein, in association with Dmitri Vasilyev and a script co-written with Pyotr Pavlenko, who were assigned to ensure Eisenstein did not stray into " formalism " and to facilitate shooting on a reasonable timetable.

This shows that he was unaware of two different proofs of this statement that Schönemann had given, one in either part of a two-part article, the second of which being the one based on the criterion cited above ; this is all the more surprising given the fact that two pages further Eisenstein actually refers ( for a different matter ) to the first part of Schönemann's article.

It appears in a number of remarkable identities, including relationships on the Riemann zeta function and the Eisenstein series of modular forms.

He wrote articles on " Modern Imagery ", " Avant-garde Cinema " ( 1929, issue 7 ), " Pygmalion and the Sphinx " ( 1930, issue 1 ), and Sergei Eisenstein, the Soviet filmmaker, on his film titled The General Line ( 1930, issue 4 ).

Pudovkin's masterpieces are often contrasted with those of his contemporary Sergei Eisenstein, but whereas Eisenstein utilized montage to glorify the power of the masses, Pudovkin preferred to concentrate on the courage and resilience of individuals.

His first book on film, Der Sichtbare Mensch ( The Visible Man ) ( 1924 ), helped found the German " film as a language " theory, which also exerted an influence on Sergei Eisenstein and Vsevolod Pudovkin.

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.

Finally, in 1968, his closest disciple and son-in-law Ira Eisenstein founded a separate school, the Reconstructionist Rabbinical College ( RRC ), in which Kaplan's philosophy, Reconstructionist Judaism, would be promoted as a separate religious movement.

In 1968, women were accepted into the Reconstructionist Rabbinical College, under the leadership of Ira Eisenstein.

* Ira Eisenstein, Reconstructionist leader

However, his followers, including Ira Eisenstein ( Kaplan ’ s son-in-law and leader of the Jewish Reconstructionist Foundation from the 1959 onward ) were frustrated by the lack of a continuing framework to promote their ideas in American Judaism.

Rabbi Ira Eisenstein ( November 26, 1906-June 28, 2001 ) founded Reconstructionist Judaism, along with Rabbi Mordecai Kaplan, his teacher and, later, father-in-law through his marriage to Judith Kaplan, over a period of time spanning from the late 1920s to the 1940s.

After his ordination, Rabbi Eisenstein became associate rabbi and then rabbi of the Society for the Advancement of Judaism, the first Reconstructionist congregation, which Kaplan founded in 1922.

A former president of the Conservative Rabbinical Assembly of America, Rabbi Eisenstein served as president of the Jewish Reconstructionist Foundation from 1959 to 1970.

*"" Rabbi Ira Eisenstein, 94, Dies ; Led Reconstructionist Jews ", New York Times, Sunday, July 1, 2001

However, after he chanced to see Sergei Eisenstein ’ s October, which impressed him profoundly, particularly the quality of editing in the movie, Coppola decided that he would not go into theater but would opt for cinema.

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

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.

The battle scene is accompanied with the music from Sergei Eisenstein ’ s film Alexander Nevsky, Prokfiev's cantata for Alexander Nevsky.

Hollywood ’ s American Tragedies: Dreiser, Eisenstein, Sternberg, Stevens.

Such theorists ( Eisenstein 1979, Hartmann 1979 & 1981, Messerschmidt 1986, Currie 1989 ) accept that a patriarchal society constrains women ’ s roles and their view of themselves but that this patriarchy is the result not of male aggression but of the mode of capitalist production.

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.

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.

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.

" 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.

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.

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 corresponded with Prokofiev from Alma Ata, and was joined by him there in 1942.

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.

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.