Sergei Mikhailovich Eisenstein
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Russian film maker who pioneered the use of montage and is considered among the most influential film makers in the history of motion pictures (1898-1948)
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Sergei Eisenstein
Sergei Mikhailovich Eisenstein
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Elizabeth Lewisohn Eisenstein (October 11, 1923 – January 31, 2016) was an American historian of the French Revolution and early 19th-century France.
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701 = prime number, sum of three consecutive primes (229 + 233 + 239), Chen prime, Eisenstein prime with no imaginary part 702 = 2 × 33 × 13, pronic number, nontotient, Harshad number 703 = 19 × 37, triangular number, hexagonal number, smallest number requiring 73 fifth powers for Waring representation, Kaprekar number, area code for Northern Virginia along with 571, a number commonly found in the formula for body mass index 704 = 26 × 11, Harshad number, area code for the Charlotte, NC area.
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This room originally was the formal living room, where Frida and Diego entertained notable Mexican and international visitors and friends such as Sergei Eisenstein, Nelson Rockefeller, George Gershwin, caricaturist Miguel Covarrubias, and actresses Dolores del Río and María Félix.
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743 = prime number, Sophie Germain prime, Chen prime, Eisenstein prime with no imaginary part 744 = 23 × 3 × 31, sum of four consecutive primes (179 + 181 + 191 + 193).
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Whereas Sergei Eisenstein viewed his montage of attractions as a creative 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 watching, Vertov believed the Cine-Eye would influence the actual evolution of man, "from a bumbling citizen through the poetry of the machine to the perfect electric man".
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Pyryev also acted in Eisenstein's first short film Glumov's Diary.
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Sjumandjaja had studied film in the Soviet Union, which may have influenced his filming techniques; a scene from Sergei Eisenstein's 1925 film Battleship Potemkin, of a baby carriage going over a flight of stone steps, was reused in Atheis.
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Elizabeth Eisenstein has argued that his claimed surprise at their success may have involved self-deception and Hans Hillerbrand has claimed that Luther was certainly intending to instigate a large controversy.
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Within 50 or 60 years of the invention of the printing press, the entire classical canon had been reprinted and widely promulgated throughout Europe (Eisenstein, 1969; 52).
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It was Eisenstein's first full-length feature film, and he would go on to make The Battleship Potemkin later that year.
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By this time Vertov had been using his newsreel series as a pedestal to vilify dramatic fiction for several years; he continued his criticisms even after the warm reception of Sergei Eisenstein's Battleship Potemkin (1925).
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Well, I'm trying to solve the problem that Eisenstein never solved, that is, how to make a film that is both materialist and intellectual at the same time.
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