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	Literary Encyclopedia: Sergei Eisenstein
		Eisenstein’s father, Mikhail, was a German Jew who had converted to the Orthodox faith and, although himself raised in the Orthodox faith, Sergei Eisenstein remained proud of his Jewish origins.
		Eisenstein’s artistic training meant that he was initially attracted to a career in the theatre as a set and costume designer, although it was not until 1920 that he got to put any of his designs into practice.
		Eisenstein’s enthusiasm and aptitude for the theatre meant that he was quickly drafted into an agitprop detachment of the Red Army – through which he became a set designer at the Western Front Theatre in Minsk (although he staged no productions there, owing to the ongoing military conflict with Poland that raged on that front).
	www.litencyc.com /php/speople.php?rec=true&UID=11752 (489 words)

	Sergei Eisenstein - Wikipedia, the free encyclopedia
		Sergei Mikhailovich Eisenstein (Russian: Сергей Михайлович Эйзенштейн, Latvian: Sergejs Eizenšteins) (January 23, 1898 – February 11, 1948) was a revolutionary Soviet theatrical scenic designer-turned-film director and film theorist noted in particular for his silent films Strike, Battleship Potemkin and Oktober, which vastly influenced early documentary and narrative directors owing to his innovative use of montage.
		Eisenstein was a pioneer in the use of editing.
		Eisenstein suffered a hemorrhage and died at the age of 50.
	en.wikipedia.org /wiki/Sergei_Eisenstein (3315 words)

	Eisenstein
		Sergei Eisenstein was born on January 23, 1898, to assimilated and baptized Jewish parents in Riga, Tsarist Russia.
		Eisenstein was always concerned with bringing together the objective and the subjective through art; with his training as both engineer and artist, he was concerned with doing this by bringing together science and art.
		Eisenstein’s long-time collaborator Alexandrov reports that late one night, during the last stages of editing the film, Stalin unexpectedly came by the studios and was shown certain sequences, including a speech by Lenin.
	www.wsws.org /arts/1998/feb1998/eisen.shtml (5249 words)

	Sergei Eisenstein in perspective: film essay, profile and review, page 1 (Site not responding. Last check: )
		Eisenstein was born in Riga in 1898 to 'a tyrannical Papa', the architect and civil engineer Mikhail Osipovich, who fought for the White Russians during the civil war and died in Berlin in 1920.
		In an attempt to reclaim Eisenstein for liberals, his biographer, Ronald Bergan, tries to rescue him from his claim 'to be a Marxist all his life'4 by seizing on the oedipal nature of Sergei's relationship with this small minded philistine.
		Eisenstein was steeped in accounts of the 1905 Revolution, and in particular 'Bloody Sunday', when troops opened fire upon a peaceful demonstration at the Tsar's Winter Palace in St Petersburg.
	www.annachen.co.uk /writing/eisenstein.htm (1231 words)

	Three Films by Eisenstein
		Sergei Eisenstein has always been the pride of the Soviet cinema, but it was not until after perestroika, and especially after the collapse of Communism, that Russian theoreticians began to freely explore the national-psychological roots, cultural aspects and sexual motifs in his creative works.
		The film is structured as a free flow of associations, a montage film in the truest spirit and style of Eisenstein, by mixing rare archive shots of Eisenstein himself; footage from his films and films of his contemporaries.
		Following Eisenstein through the tragedy of two revolutions into the onslaught of Stalin's terror, Kovalov demonstrates that Eisenstein's films resolve the potentially destructive contradiction between reality and dream; present and future; old and new by immersing the new Communist mythology into the old, religious-messianic mythology.
	www.horschamp.qc.ca /9905/offscreen_reviews/Eisenstein.html (1239 words)

	Russian Archives Online > The Gallery > Sergei Eisenstein
		Born on Jan 23, 1898 in Riga, Latvia, Sergei Mikhaylovich Eisenstein was to become one of the most world-renowned filmmakers of the first half of the 20th century.
		EisensteinÕs first film, the revolutionary "Strike," was produced in 1924, following the publishing of his first article on theories of editing in the review Lef, edited by the great poet, Mayakovsky.
		Eisenstein's next film was the two hour film, "October" or "Ten Days That Shook the World", dealing with the shifts of power between the 1917 February and October revolutions, Lenin's entering the scene and the struggle of the Bolsheviks with their opponents.
	www.abamedia.com /rao/gallery/old/eisen.html (772 words)

	The religion of director Sergei Eisenstein
		Eisenstein was often called a homosexual, and though he denied that he ever had been, he was much troubled by fear of a phenomenon that he believed could lead only to creative death.
		Eisenstein once said that he believed that any one of Freud's volumes contained thousands of revolutionary film ideas, and considered that it was impossible in the twentieth century for anyone who wanted to make films or write plays of poetry to do so without reading Freud.
		Eisenstein, secure in the backing of his liberal and left-wing friends and supporters in America, and feeling confident that his Paramount contract would act as a safeguard, took the attacks with a certain amount of equanimity.
	www.adherents.com /people/pe/Sergei_Eisenstein.html (6922 words)

	Wikinfo \| Sergei Eisenstein
		Sergei Eisenstein (Russian Сергей Михайлович Эйзенштейн) (January 23, 1898 - February 11, 1948) was a Russian director noted for his films Battleship Potemkin and Oktober, both based loosely on a true story and presented in a realistic fashion, causing an immeasurable influence on early documentary directors.
		Eisenstein's loyalty to the ideals of Communism brought him into conflict with a number of officials in the ruling regime of Josef Stalin.
		Eisenstein gave the unedited footage to the care of novelist Upton Sinclair who was also the movie's main financier.
	www.wikinfo.org /wiki.php?title=Sergei_Eisenstein (631 words)

	Sergei Eisenstein Biography and Summary
		Born in Riga, the son of a wealthy shipbuilder, Sergei Eisenstein went a...
		Sergei Mikhailovich Eisenstein(Russian: Сергей Михайлович Эйзенштейн, Latvian: Sergejs Eizenšteins) (January 23, 1898 – February 11, 1948) was a revolutionary Soviet theatrical scenic designer-turned- film director and...
		An American educator and critic, Seydor is the author of a study of the westerns of director Sam Peckinpah.
	www.bookrags.com /Sergei_Eisenstein (253 words)

	ArtandCulture Artist: Sergei Eisenstein (Site not responding. Last check: )
		Eisenstein followed with "Ivan the Terrible," intended to be a three-part series.
		Eisenstein’s health failed while producing part three, and the footage was destroyed by the state.
		Hailing Eisenstein as "probably the greatest director ever to work in the film medium," this article by Martin Jukovsky is both a tribute and an analysis of Eisenstein’s life and work.
	www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/artist?wosid=NO&id=1342 (684 words)

	Sergei Eisenstein
		It was Eisenstein's hope to harness that frenzy for revolutionary purposes, fond as he was of quoting Marx's dictum that the point is not to understand history but to change it.
		But to say that Eisenstein's influence is no longer felt, and to attempt to debunk the British Film Institute's canonisation of his work (which claimed back then that the artistic foundations of the medium were laid by the triumvirate of Griffith, Chaplin and Eisenstein) was unduly harsh of Thomson.
		Eisenstein's work exhibits all of the strengths and weaknesses one would expect of a Renaissance Man that loved to quote Goethe and was most deeply influenced by Pavlov, Mayakovsky, Marx and Freud.
	www.sensesofcinema.com /contents/directors/04/eisenstein.html (3072 words)

	Sergei Eisenstein
		A master of the early Soviet cinema, Eisenstein was responsible for a group of imaginative and exciting silent films employing rapid, rhythmic montage and a feverish visual invention.
		Once universally acclaimed, Eisenstein's reputation has suffered in recent years, with many finding his propaganda too strident, but Strike and Battleship Potemkin, at least, remain films of extraordinary energy and power.
		Eisenstein's later career was inhibited by ill health and his work suffered official disapproval under Stalinism, but his last film, Ivan The Terrible, remains a decadent masterpiece brimming with grotesque invention.
	www.thecontext.com /docs/96.html (98 words)

	Directors > Eisenstein, M Sergei
		Eisenstein's compositions reflect the graphic boldness of contemporary poster art, mixing poetic realism with grotesque expressionism in a gripping style, and his famous montage editing style (to be perfected in his next film, Battleship Potemkin) is raw, experimental and energetic.
		Eisenstein was a genius filmmaker, and he will be remembered as much for his efforts with Ivan the Terrible as he will for his early montage work.
		Sergei Eisenstein came of age as a director during this period, putting his innovations into practice and redefining history in the process.
	www.wendvd.co.uk /nDVD/503442_1.html (2975 words)

	Sergei Eisenstein
		Eisenstein was certainly a victim of incompatible parents, bullied and ignored by his father, flattered and pampered by his mother.
		For Eisenstein, his father exemplified all that was reprehensible in the bourgeois mentality and, it could be argued, that his father's persona informs the bourgeois characters he depicted in his films, such as the fat bosses in The Strike and the heartless double-chinned kulak in The General Line.
		The `earnest and logical' side to Eisenstein was one of the few positive traits that he inherited from his father — the engineer's quality of preparedness, the belief in the need for pre-planning, and the merits of construction.
	partners.nytimes.com /books/first/b/bergan-eisenstein.html (5640 words)

	Amazon.co.uk: Video, Video, Categories, World Cinema, Directors, ... (Site not responding. Last check: )
		Sergei Eisenstein's debut film is more than a landmark of Soviet cinema; it's easily one of the most thrilling and inventive films to emerge from the silent era of Russian film making.
		Eisenstein was a theatre director and stage designer with some very specific ideas about the cinema, and he put...
		Sergei Eisenstein's revolutionary sophomore feature has so long stood as a textbook example of montage editing that many have forgotten what an invigoratingly cinematic experience he created.
	www.amazon.co.uk /exec/obidos/tg/browse/-/3336761 (498 words)

	IN PERSPECTIVE: SERGEI EISENSTEIN:
		Eisenstein insisted that the shot was the basic unit of montage and not, as director Lev Kuleshov had insisted, merely an element of it.
		Eisenstein increases the illusion of depth in this shot by clothing the many small far off dead bodies in dark shadings which recede into the distance; and foregrounding three soldiers and their officer in brightly lit white uniform, utilising conflict of mass and volume to locate the power in this scene.
		Eisenstein threw in the towel shortly before he died in 1948, weakened by poor health and the stultifying political climate in which he was trying to work.
	pubs.socialistreviewindex.org.uk /isj79/chen.htm (5700 words)

	Russian Directors - Sergei Eisenstein
		Sergei Eisenstein's depiction of the mutiny of the crew of the Potemkin during the insurrection of 1905 is one of the essential works in film history.
		Begun in 1926 after the completion of Potemkin, the film uses what Eisenstein called "polyphonic montage" in which the fls, whites and grays are used like the sounds and tones of a symphony orchestra.
		Eisenstein's arresting imagery adds near-operatic grandeur to Ivan's lavish coronation, his destruction of the Tartar city of Kazan, his self-imposed abdication in response to court treachery and his return to the throne at the request of the common people --all set to a magnificent score by Prokofiev.
	www.multilingualbooks.com /foreignvids-russ-eisenstein.html (1513 words)

	Eisenstein Page at Film-North
		Eisenstein, Sergey Mikhaylovich (1898-1948), Soviet motion-picture director and theorist who experimented with the intellectual and expressive possibilities of editing to create a revolutionary new form of cinema.
		Demobilized in 1920, Eisenstein enrolled in Moscow's Proletkult (short for "proletarian culture") Central Workers' Theatre, one of many experimental arts institutions supported by the Communist government to educate and indoctrinate the Russian people in the events and causes of the revolution.
		Under Meyerhold's tutelage, Eisenstein developed what he called a "montage of attractions," a bold theory of staging that addressed the possibility of linking a series of images to evoke predetermined emotional responses from the spectator.
	members.tripod.com /~afronord/eisen.html (13022 words)

	The DVD Journal: Sergei Eisenstein: Mexican Fantasy
		In Eisenstein's prospectus for the film, he described six individual segments, each dedicated to a Mexican or Spanish artist, and each exploring an aspect of Mexico's past and present, from the bloody creation of the pyramids to the rituals of the Day of the Dead.
		Eisenstein planted himself in Tetlapayac with his cinematographer Edouard Tisse, where he spent some 14 months writing, drawing, and shooting.
		The folly of Sergei Eisenstein: Mexican Fantasy is on a level with someone trying to complete Dickens's The Mystery of Edwin Drood: It's a lose-lose situation.
	www.dvdjournal.com /reviews/s/seisenstein_mexf.shtml (1088 words)

	The Classic Russian films of director SERGEI EISENSTEIN
		This was Eisenstein's first feature film and was Intended to be the first of an eight part series documenting the events that lead to the worker's revolt.
		A cast of thousands, location filming, and Eisenstein's spectacular, manic montage are employed to recreate the dismantling of the statue of Alexander III and the storming of the Winter Palace.
		Elsewhere, Eisenstein uses imagery from the Grand Opera, the Japanese Kabuki Theatre and even religious themes from Russian icons to create his epic vision.
	www.nyfavideo.com /content/cat-EISENSTEIN.htm (757 words)

	Stalin: The Discussion with Sergei Eisenstein
		Zhdanov said that Eisenstein is fascinated by the shadows (which distracts viewers from the action), and the beard of Ivan the Terrible and that Ivan the Terrible raises his head too often, so that his beard can be seen.
		Eisenstein said that it was better to combine the already shot material of the second series with what was left of the scenario - and produce one big film.
		Eisenstein also added that he had not seen the complete version of the film because he had fallen ill after completing it.
	revolutionarydemocracy.org /rdv3n2/ivant.htm (3009 words)

	Russian culture navigator
		Eisenstein who made the historic Battleship Potemkin in 1925, the picture that stands first in the top ten films of all times.
		Eisenstein brought to cinematography such notions as rhythm, dynamics, editing, and the tragic aura of this century.
		The premiere of Sergey Prokofiev's "Love for Three Oranges" was a major event in the present, the 222nd season.
	www.vor.ru /culture/cultarch3_eng.html (2744 words)

	WAC \| Press Release \| 1997 \| Sergei Eisenstein and Shirley Clark Films
		In celebration of the centennial of the birth of the great Soviet filmmaker-theorist Sergei Mikhailovich Eisenstein (1898-1948), the Walker presents a special screening on Friday, January 16, of the director's most celebrated feature, Battleship Potemkin (1925), along with a new and wonderfully eccentric "autobiography" of Eisenstein loosely based on his final writings.
		Initially trained as a civil engineer, Eisenstein left his studies in 1917 to serve the Russian revolution through art: first in graphic design, and then the stage.
		Influenced by Vsevolod Meyerhold, Eisenstein brought a Constructivist approach to his filmmaking, deploying it both in directing his actors and in the overall structure of his films.
	www.walkerart.org /archive/F/B9A39107F30A2EDC6165.htm (775 words)

	Amazon.com: Sergei Eisenstein: Autobiography: DVD: Oleg Kovalov,Aleksei German,Sergei M. Eisenstein (Site not responding. Last check: )
		Though based on memoirs Eisenstein wrote before his death in 1948, most of this film is barely a documentary at all, but rather a composite of images, many of which are fascinating and arresting.
		Eisenstein himself was known for startling and memorable images (perhaps the most famous of which is the shot of the baby carriage rolling down the steps in Potemkin), so memorializing him with clips from his own films interspersed with readings from his memoirs seems somewhat appropriate.
		A film dedicated to the 100th anniversary of cinema and the 100th anniversary of the birth of Sergei Eisenstein, one of film's greatest pioneers.
	www.amazon.com /exec/obidos/tg/detail/-/B00000JWWI?v=glance (697 words)

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