To retain its relevance as a propaganda film for each new generation, Eisenstein hoped the score would be rewritten every 20 years.

* Sergei Eisenstein prepared a screenplay in the late 1920s which he hoped to have produced by Paramount or by Charlie Chaplin during Eisenstein's stay in Hollywood in 1930.

Under pressure, Eisenstein blamed Mary Sinclair's younger brother, Hunter Kimbrough, who had been sent along to act as a line producer, for the film's problems.

A dramatized account of his life, in which he is depicted as the second most powerful aristocrat in Russia, only after the Tsar, who is constantly put under pressure by boyars that want to make him revolt against the imperial authority at Moscow, can be found in the epic work of Soviet film director Sergei Eisenstein, Ivan the Terrible.

Eisenstein completed a script by the start of October 1930, but Paramount disliked it completely and, additionally, found themselves intimidated by Major Frank Pease, president of the Hollywood Technical Director's Institute.

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.

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.

Eisenstein used the film to further develop his theories of film structure, using a concept he described as " intellectual montage ", the editing together of shots of apparently unconnected objects in order to create and encourage intellectual comparisons between them.

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.

431 prime number, Sophie Germain prime, sum of seven consecutive primes ( 47 + 53 + 59 + 61 + 67 + 71 + 73 ), Chen prime, Eisenstein prime with no imaginary part, the distance between Earth and the star Polaris in light years

Hitchens also compared Michael Moore to Leni Riefenstahl in his critique for Slate magazine: " Here we glimpse a possible fusion between the turgid routines of MoveOn. org and the filmic standards, if not exactly the filmic skills, of Sergei Eisenstein or Leni Riefenstahl.

Many relationships between products of Eisenstein series can be written in an elegant way using Hankel determinants, e. g. Garvan's identity

Ramanujan gave several interesting identities between the first few Eisenstein series involving differentiation.

Jacobi also encouraged the distinction, but later relations between Jacobi and Eisenstein were always rocky, due primarily to a disagreement over the order of discoveries made in 1846.

" In response, Simon and Kirby arranged in November 1954, to audit Crestwood, leading to a meeting between, on one side, Simon, Kirby, their accountant Bernard Gwirtzman and the attorney Gwirtzman chose, Morris Eisenstein ; and on the other Crestwood publishers Teddy Epstein and Paul Bleier as well as general manager M. R. Reese.

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.

" 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.

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

In fact, Eisenstein adds in a footnote that the only proof for this irreducibility known to him, other than that of Gauss, is one given by Kronecker in 1845.

* Otto Kahn: Art, Money, and Modern Time, Introduction Discusses Kahn in the context of the arts, financial history, anti-semitism, Citizen Kane and locates him among the lives of Sergei Eisenstein, Groucho Marx, Enrico Caruso and Anna Pavlova, Paul Robeson, James Joyce, Eugene O ' Neill, etc.

Like Galois and Abel before him, Eisenstein died before the age of 30.

However, as the chief of the Soviet industry, and his job description thus requiring him to enforce Stalinist thinking therein, he had no real choice but to crack down on filmmakers who were seen as practicing formalism, by then considered an ideological evil, and Eisenstein, with his predilection for montage theory and experimental film making — not to mention his five-year absence in the West — was viewed with great suspicion within the industry and the government.

*" Eyes " Eisenstein ( viewpoint )-a small-time crook who discovers Jack-in-the-Box II's secret identity, but flees town when paranoid fantasies of what may happen if he told anyone get the better of him.

Eisenstein himself, however, was accused by the Soviet authorities under Joseph Stalin of " formalist error ," of highlighting form as a thing of beauty instead of portraying the worker nobly.

After a prolonged absence, Stalin sent a telegram expressing the concern that Eisenstein had become a deserter.

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.

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

In 1941 Eisenstein, Pavlenko, Cherkasov and Abrikosov were awarded the Stalin Prize for the film.

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.

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 ).

Largely unnoticed in the United States, on the strength of this film Leyda was invited to study with Soviet filmmaker Sergei Eisenstein, the only American to do so.

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 .”

Eisenstein believed that editing could be used for more than just expounding a scene or moment, through a " linkage " of related images.

Eisenstein felt the " collision " of shots could be used to manipulate the emotions of the audience and create film metaphors.

The soundworld could be seen to have derived from the twelve-tone cantatas of Webern, but it implicitly strives for the imposing harmonic tautness and full sonority of Prokofiev's Eisenstein cantatas.

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.

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.

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.

Kuleshov may well be the very first film theorist as he was a leader in Soviet montage theory — developing his theories of editing before those of Sergei Eisenstein ( briefly a student of Kuleshov ) and Vsevolod Pudovkin.

Sergei Eisenstein and many other Soviet filmmakers in the 1920s expressed ideas of Marxism through film.

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.

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.

* Strike ( film ), 1925 silent film made in the Soviet Union by Sergei Eisenstein

Sergei Mikhailovich Eisenstein ( 23 January 1898 – 11 February 1948 ), né Eizenshtein, was a pioneering Soviet Russian film director and film theorist, often considered to be the " Father of Montage ".

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 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.

The trip to Mexico was for Eisenstein to make a film produced by Sinclair and his wife, Mary Craig Kimbrough Sinclair, and three other investors organized as the " Mexican Film Trust ".

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.