One of the latter, entitled " On the orders and genera of quadratic forms containing more than three indeterminates ," enunciates certain general principles by means of which he solves a problem proposed by Eisenstein, namely, the decomposition of integer numbers into the sum of five squares ; and further, the analogous problem for seven squares.

503 prime number, safe prime, sum of three consecutive primes ( 163 + 167 + 173 ), sum of the cubes of the first four primes, Chen prime, Eisenstein prime with no imaginary part, also a proposed HTTP status code indicating a gateway time-out, SMTP status code meaning bad sequence of commands

This is not really a quote by Gauss, but is ( a translation of ) the end of a sentence from the biography of Eisenstein by

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.

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 ".

" 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.

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 hoped to pressure the Sinclairs to insinuate themselves between him and Stalin, so Eisenstein could finish the film in his own way.

Subsequently Eisenstein published a somewhat different version in in 1850, also in Crelle's Journal.

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.

Historian Elizabeth Eisenstein claimed that the fall of Constantinople in 1453 had threatened the importance and survival of Greek scholarship, but publications such as those by the Aldine Press secured it.

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.

He was survived by Rivka and his daughters Dr. Judith Eisenstein, Hadassah Musher, Dr. Naomi Wenner and Selma Jaffe-Goldman.

The development of Russian cinema in the 1920s by such filmmakers as Dziga Vertov and Sergei Eisenstein saw considerable progress in the use of the motion picture as a propaganda tool, yet it also served to develop the art of moviemaking.

Eisenstein was heavily influenced by the ideology of the 1917 Bolshevik revolution, which results in it providing better insight into the mindset of the later revolution than that which it depicted.

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.

In 1923 Eisenstein began his career as a theorist, by writing The Montage of Attractions for LEF.

In 1929, in Switzerland, Eisenstein supervised an educational documentary about abortion directed by Tissé entitled Frauennot-Frauenglück.

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.

On October 23, 1930, by " mutual consent ," Paramount and Eisenstein declared their contract null and void, and the Eisenstein party were treated to return tickets to Moscow at Paramount's expense.

Sinclair's works had been accepted by and were widely read in the USSR, and were known to Eisenstein.

By 4 December 1930, Eisenstein was en route to Mexico by train, accompanied by Aleksandrov and Tisse.

Eisenstein never saw any of the Sinclair-Lesser films, nor a later effort by his first biographer, Marie Seton, called Time in the Sun.

Even though Soviet film executive Boris Shumyatsky encouraged Sinclair in undermining Eisenstein it was derailed not as much as Bezhin Meadow by the Soviet film industry, but by its American backers.

Writer Douglas Kahn, in his work Noise, Water, Meat: A History of Sound in the Arts ( 1999 ), discusses the use of noise as a medium and explores the ideas of Antonin Artaud, George Brecht, William Burroughs, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov.

Somtow, Lee Killough, Phyllis Eisenstein, Allen Steele, Andre Norton, George R. R. Martin, Robert A. Heinlein, and many others.

* Becoming George ( 2004 )-Music by Linda Eisenstein, Book / Lyrics by Patti McKenny and Doug Frew

" 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.

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

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

Remarkably Schönemann and Eisenstein, once having formulated their respective criteria for irreducibility, both immediately apply it to give an elementary proof of the irreducibility of the cyclotomic polynomials for prime numbers, a result that Gauss had obtained in his Disquisitiones Arithmeticae with a much more complicated proof.

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.

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 ).

Its output includes most of the more widely-acclaimed Soviet-era films, ranging from works by Tarkovsky and Eisenstein ( commonly considered the greatest Soviet directors ), to Red Westerns, to the Akira Kurosawa co-production ( Дерсу Узала / Dersu Uzala ) and the epic Война и Мир / War and Peace.

A couple of scenes in the film are re-stagings of scenes from Sergei Eisenstein films, to allude to a moment of more pure ( truthful ) film making in the Soviet Union.

Eisenstein, Tanner, Jorge Sanjines, Littín, Glauber Rocha, Vigo, Gilles Carle, Karmitz, among others, became more familiar to the Portuguese audience through that distributor.

The term " reciprocity law " refers to a long line of more concrete number theoretic statements which it generalized, from the quadratic reciprocity law and the reciprocity laws of Eisenstein and Kummer to Hilbert's product formula for the norm symbol.