Sergei Eisenstein was briefly a student of Kuleshov's, but the two parted ways because they had different ideas of montage.

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.

Around this time he was involved in the creation of the Filmliga based in Amsterdam which drew foreign filmmakers to Holland such as Alberto Cavalcanti, René Clair, Sergei Eisenstein, Vsevolod Pudovkin, and Dziga Vertov who also became his friends.

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.

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.

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.

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

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.

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 ".

Eisenstein was born to a middle-class family in Riga, Latvia but his family moved frequently in his early years, as Eisenstein continued to do throughout his life.

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

But it was mostly his international critical renown which enabled Eisenstein to direct October ( aka Ten Days That Shook The World ) as part of a grand tenth anniversary celebration of the October Revolution of 1917, and then The General Line ( aka Old and New ).

Officially, the trip was supposed to allow Eisenstein and company to learn about sound motion pictures and to present the famous Soviet artists in person to the capitalist West.

For Eisenstein, however, it was also an opportunity to see landscapes and cultures outside those found within the Soviet Union.

Eisenstein was thus faced with returning home a failure.

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.

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

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.

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.

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.

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.

His earliest extant film, Seven Till Five ( 1933 ), a " day in the life of an art school " was influenced by Eisenstein and displays a strongly formalist attitude.

Sergei Eisenstein, a Russian filmmaker ( 1898-1948 ) and author of two books, The Film Sense and Film Form: Essays in Film Theory, greatly influenced Mutter's ideas about photographic " montage ", a technique of combining and superimposing images into a single picture.

Italian Futurism influenced Russian Futurist cinema ( Lev Kuleshov, Dziga Vertov, Sergei Eisenstein, Vsevolod Pudovkin, Aleksandr Dovzhenko ) and German Expressionism.

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.

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.

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.

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

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

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.

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

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.

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.

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

The international critical renown that Eisenstein garnered from this film enabled the Russian filmmaker to direct October ( aka Ten Days That Shook The World ) as part of a grand tenth anniversary celebration of the October Revolution of 1917, and then The General Line ( aka Old and New ).

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.

Eisenstein always had republican sympathies, and while he did not actively participate in the revolution of 1848, he was arrested on 19 March of that year.

The literary critic Christopher Hitchens, while noting that Malraux had spent almost no time in China, claimed that the novel " pointed up the increasing weight of Asia in world affairs ; it described epic moments of suffering and upheaval, in Shanghai especially ( it was nearly filmed by Sergei Eisenstein ); and it demonstrated a huge respect for Communism and for Communists while simultaneously evoking the tragedy of a revolution betrayed by Moscow.