Results 101 to 110 of about 213 (150)
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2021
Abstract Soviet director Sergei Eisenstein’s films have become nearly synonymous with cinematic montage’s birth and development. Yet scholars have almost never aligned Eisenstein’s inventiveness with painterly collage, a deeply connected trend appearing in European art.
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Abstract Soviet director Sergei Eisenstein’s films have become nearly synonymous with cinematic montage’s birth and development. Yet scholars have almost never aligned Eisenstein’s inventiveness with painterly collage, a deeply connected trend appearing in European art.
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2013
Sergei Eisenstein (Sergei Mikhailovich Eizenshtein, b. Riga, Latvia, 1898–d. Moscow, 1948) remains one of the most celebrated filmmakers and theorists in the history of cinema. He achieved this status internationally during his lifetime, and since his death the overall volume of critical and theoretical writing exploring his work, life, and legacy is ...
Masha Salazkina, Katarina Mihailovic
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Sergei Eisenstein (Sergei Mikhailovich Eizenshtein, b. Riga, Latvia, 1898–d. Moscow, 1948) remains one of the most celebrated filmmakers and theorists in the history of cinema. He achieved this status internationally during his lifetime, and since his death the overall volume of critical and theoretical writing exploring his work, life, and legacy is ...
Masha Salazkina, Katarina Mihailovic
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Sergei Eisenstein: The Hypostasis of a Teacher
Observatory of CultureHigh praise for the long-term teaching work of the Soviet theater and film director, artist, screenwriter, and art theorist Sergei Mikhailovich Eisenstein (1898—1948) in oral presentations and the memoirs of colleagues, students, and contemporaries has not led to a scientifically grounded study of the phenomenon of Eisenstein-teacher or the structure ...
Inna I. Penkovskaya +1 more
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Sergei Eisenstein: The Artist in Service of the Revolution
The History Teacher, 1996IN ALEXANDER SOLZHENITSYN's One Day in the Life of Ivan Denisovich (1962), the classic account of life in the Soviet labor camps of the gulag, two prisoners argue the artistic merits of Soviet film maker Sergei Eisenstein (1898-1948). One, a director who was arrested before he could make his first film, maintains that whether or not one agrees with the
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Strike (Sergei Eisenstein, 1925)
2018The first feature film of legendary Soviet director Sergei Eisenstein, Strike, is an anatomy of the germination of collective action, its surveillance within modern networks of power, and its violent repression. Based on the 1903 strikes at Rostov-on-the-Don, Strike was conceived as part of a never finished seven-film cycle entitled Toward the ...
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2014
As is known, Sergei Eisenstein’s artistic course has always proceeded along with his theoretical evolution and aesthetic reflection. In many aspects, the Eisensteinian theory considers music as an aesthetic, linguistic and communicative model: starting from the well-known Statement on Sound1 — gone down in history as Sound Manifesto — a polished ...
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As is known, Sergei Eisenstein’s artistic course has always proceeded along with his theoretical evolution and aesthetic reflection. In many aspects, the Eisensteinian theory considers music as an aesthetic, linguistic and communicative model: starting from the well-known Statement on Sound1 — gone down in history as Sound Manifesto — a polished ...
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Montage and Modelling Values in Sergei Eisenstein
2004It is perhaps a paradox that the ‘cutter’ par excellence in film history, the inventor according to some of ‘montage’ editing, is aligned on this account not to the carving mode but to modelling. As we have seen, to identify Sergei Eisenstein with carving would be to mistake Stokes’ distinction as a literal one and not as what it is fundamentally: an ...
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