Photo taken between 1905 and 1915 by Sergei Mikhailovich Prokudin-Gorskii.

Early color photograph taken by Sergei Mikhailovich Prokudin-Gorskii | Prokudin-Gorskii ( 1915 ).

Russian photographer Sergei Mikhailovich Prokudin-Gorskii made extensive use of this color separation technique, employing a special camera which successively exposed the three color-filtered images on different parts of an oblong plate.

All except Grand Duke Sergei Mikhailovich of Russia survived the fall.

vi: Sergei Mikhailovich Eisenstein

Sergei Mikhailovich Prokudin-Gorskii.

Image: Oldpoppies. jpg | Field of poppies, by Sergei Mikhailovich Prokudin-Gorskii, c. 1912

Sergei Witte's maternal grandfather was Andrei Mikhailovich Fadeyev, a Governor of Saratov and Privy Councillor of the Caucasus, his grandmother was Princess Helene Dolgoruki, and the mystic Helena Blavatsky was his first cousin.

Turkmens | Turkmen woman at the entrance to a yurt in Turkestan ; 1911 picture by Sergei Mikhailovich Prokudin-Gorskii | Prokudin-Gorskii

Dance of a bacchá ( dancing boy ) Samarkand, ( ca 1905 – 1915 ), photo Sergei Mikhailovich Prokudin-Gorskii.

Chapel in Wilno, erected to commemorate the crushing of the 1863 January Uprising against Russia, picture taken Sergei Mikhailovich Prokudin-Gorskii

Turkmens | Turkmen woman at the entrance to a yurt in Turkestan ; 1913 picture by Sergei Mikhailovich Prokudin-Gorskii | Prokudin-Gorskii

The Emir of Bukhara in a 1911 color photograph by Sergei Mikhailovich Prokudin-Gorskii.

A 1912 color photograph of Sergei Mikhailovich Prokudin-Gorskii, who documented the Russian Empire with a color camera from 1909 to 1915.

It was probably this Miethe-Bermpohl camera which was used by Miethe's pupil Sergei Mikhailovich Prokudin-Gorskii to make his now-celebrated color photographic surveys of Russia before the 1917 revolution.

* Sergei Mikhailovich Tretyakov

A minor planet 3925 Tret ' yakov, discovered by Soviet astronomer Lyudmila Zhuravlyova in 1977 is named after Pavel Tretyakov and his brother Sergei Mikhailovich Tretyakov ( 1824 – 1892 ).

He created a gallery of portraits of important Russian writers, scientists, artists and public figures ( Lev Nikolaevich Tolstoy, 1873, Ivan Shishkin, 1873, Pavel Mikhailovich Tretyakov, 1876, Mikhail Saltykov-Shchedrin, 1879, Sergei Botkin, 1880 ) in which expressive simplicity of composition and clarity of depiction emphasize profound psychological elements of character.

Color photograph taken by Sergei Mikhailovich Prokudin-Gorskii of a Russian noblewoman in 1905.

Anisimov | Georgiy I. Babaev | Evgeny Mikhailovich Belyaev | Piotr Dmitrievich Bogachev | Ivan Semionovich Bukreev | Vladimir Bunchikov | E. Burchak | Victor Sergeievich Buzurov | Dmitry Bykov | Vladimir Chernykh | Tatiana Deryabkina | Boris Diakov | Ivan A. Didenko | V. Dmitriev | Arthur Arturovich Eisen ( or Eisenach ) | V. Fedorov | Stanislav I. Frolov | Valery Gavva | Konstantin G. Gerasimov | Vladimir P. Gorlanov | Nicholai Timofeyevich Gres | AA Gvozdetsky | Sergei Vasilievich Ivanov | B. Jaivoronok | Vladimir Nikolaievich Katerinsky | Leonid M. Kharitonov | Andrey Kusleev | I. Kuznetsov | Edward Maxovich Labkovsky | V. P.

Dance of a bacha boy, Samarkand, ca 1905-1915, Sergei Mikhailovich Prokudin-Gorskii ( 1863-1944 )

There they were imprisoned for some months, together with the Grand Duchess Elizaveta Feodorovna ( sister of the Empress Alexandra ), the Grand Duke Sergei Mikhailovich ( a cousin of KR ), and Prince Vladimir Paley ( the son of Grand Duke Paul Alexandrovich, another Romanov cousin ).

Grand Duke Nicholas Mikhailovich and his brothers called for his resignation, while Sergei ’ s own brothers Grand Dukes Vladimir Alexandrovich and Alexei Alexandrovich closed ranks supporting him and threatened to retire from public life if Sergei was made the scapegoat for the Khodynka tragedy.

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.

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 .”

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.

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.

* Eisenstein, Sergei ( 2010 ).

* Sergei Eisenstein

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.

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.

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.

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 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

# REDIRECT Sergei Eisenstein

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.

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