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Sergei Eisenstein (1898–1948)

Forfatter af Film Form: Essays in Film Theory

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Potemkin, a silent film that appeared in 1925, was the great Russian film director's first brilliant "mass epic," originally commissioned just after the 1917 Russian Revolution to commemorate the 1905 anti-Czarist uprising. In it Eisenstein broke new ground in the cinema with his anti-narrative vis mere technique of "shock-attraction," or dialectical, montage---a series of shots in which each pair being spliced gives rise to a collision of images, thereby creating a sharp impression, or synthesis, in the viewer's mind. Eisenstein (who had been an engineer before he became a film director) compared this technique to the series of explosions made by an internal combustion engine driving a vehicle forward---just so, the famous sequence of slaughter on the Odessa steps and the slow descent of a baby in its carriage through the carnage drives Potemkin forward. Dynamic cutting is again evident in Ten Days That Shook the World (1928), in which he uses slowly mounting sequences and fast cuts to depict the gathering storm of the Russian Revolution and its ultimate triumph. Despite his glorification of the Russian Revolution and the new Soviet state, Eisenstein often found himself at odds with the Soviet government. For a while he even attempted to work in Hollywood, but he returned to Russia to make Alexander Nevsky (1938), his most popular film, and Ivan the Terrible, which he envisioned as a three-part epic. Part I (1944) was completed and released, Part II was withheld at first by the Soviet Film Trust and then later released, and Eisenstein died of a heart attack while working on Part III. (Bowker Author Biography) vis mindre

Omfatter også følgende navne: S Eisenstein, S.M.Eisenstein, S.M. Ejzenstejn, Sergei Einstein, Serge Eisenstein, Sergei Eisentein, Sergej Ejzenstejn, Sergej Eisenstein, Sergei Eisenstein, Sergéi Eisenstein, Sergei Einsenstein, Sergei Eizenshtein, Sergei Eisenshtein, Serguei Eisenstein, Sergei Einseistein, Sergueï Eisenstein, Serge M. Eisenstein, Segio M. Eisenstein, Sergey M.Eisenstein, Sergeĭ Eizenshteĭn, Sergey M. Eisenstein, Sergei M. Eisenstein, Sergio M. Eisenstein, Sergueï Einsenstein, Sergei M. Eisenstein, Sergej M. Eisenstein, Sergel M. Eisenstein, Sergej M. Ejzenstejn, Sergej M. Ejzenstejn, Sergej M. Ejzenštejn, Sergein M. Eisenstein, Serguei M. Eisenstein, Sergueï M. Eisenstein, Sergej M. Ėjzenštejn, Serguéi M. Eisenstein, Serguéi M. Eisenstein, Sergei M. Eïzenshteïn, Sergej Mihajlovic Ejzenstejn, Serguéi M. Eisenstein, Professor) Sergei Eisenstein, Sergei Mijailovich Eisenstein, Sergej Michajlovic Eisenstein, Sergej Mikhajlovic Eisenstein, Eisenstein Szergej Mihajlovics, Sergei Michailovich Eisenstein, Eisenstein SergeI MikhaIlovich, Sergei Mikhailovich Eisenstein, Sergej Michajlovič Ejzenštejn, Sergej Mihajlovič Ëjzenštejn, Sergeii Mikhaiilovich Eisenstein, Sergeĭ Mikhaĭlovich Eisenstein, Sergeij Michailowitsch Eisenstein, Эйзенштейн Сергей, Sergueï Mikhaïlovitch Eisenstein, Sergej Mihajlovic Èjzenstejn, Serguei Mikhaïlovitch Eisenstein, Sergeï Mikhaïlovitch Eisenstein, Sergej Mihajlovič Ëjzenštejn, Sergueï Mikhaïlovitch Eisenstein, Jay (translator and E Sergei M.; Leyda Eisenstein, Sergei Eisenstein; (Editor And Translator) Jay Ley, Sergei M. Translated and Edited by Ivor Montagu Ei, Сергей Михайлович Эйзенштейн, Sergei M. (Guion Extraido Directamente Del Film Por E. Ripoll-Freixes) Eisenstein

Omfatter også: S. M. Eisenstein (1)

Serier

Værker af Sergei Eisenstein

Film Form: Essays in Film Theory (1969) 411 eksemplarer
The Film Sense (1969) 304 eksemplarer
The Battleship Potemkin [1925 film] (1925) — Instruktør — 148 eksemplarer
Immoral Memories (1963) 62 eksemplarer
Alexander Nevsky [1938 film] (1938) — Director — 60 eksemplarer
Film Form / The Film Sense (1957) 54 eksemplarer
Notes of a Film Director (1944) 52 eksemplarer
Ivan the Terrible [film collection] (1945) — Instruktør — 47 eksemplarer
Walt Disney (2017) 44 eksemplarer
Ivan the Terrible (1970) 40 eksemplarer
Potemkin, a Film [script] (1968) 38 eksemplarer
Film Essays and a Lecture (1968) 37 eksemplarer
October [1928 film] (1928) — Instruktør — 35 eksemplarer
Lezioni di regia (1979) 27 eksemplarer
¡Que Viva México! [1979 film] (1951) 26 eksemplarer
Strike [1925 film] (1925) — Director; Writer — 26 eksemplarer
Reflexiones de un cineasta (1958) 14 eksemplarer
Il montaggio (1986) 10 eksemplarer
Teoria generale del montaggio (1985) 8 eksemplarer
Über mich und meine Filme (1994) 8 eksemplarer
Ivan the Terrible - Pt. 1 (1998) 7 eksemplarer
Ivan the Terrible - Pt. 2 (1998) 7 eksemplarer
On the Detective Story (2017) 7 eksemplarer
The Eisenstein reader (1998) 6 eksemplarer
The Complete Films of Eisenstein (1972) 5 eksemplarer
La ligne générale (1984) 4 eksemplarer
Sinema Dersleri (2006) 4 eksemplarer
The Short-Fiction Scenario (2017) 3 eksemplarer
Il colore (1982) 3 eksemplarer
Udvalgte skrifter 3 eksemplarer
Memoires 1 (1978) 3 eksemplarer
Selected works (1988) 3 eksemplarer
Intégrale Eisenstein (1924) 3 eksemplarer
Memoires/3 oeuvres/6 (1985) 2 eksemplarer
Sinema Sanati (2016) 2 eksemplarer
Leçons de mise en scène (2001) 2 eksemplarer
Mettre en scene 2 eksemplarer
Memoires 2 (1980) 2 eksemplarer
Romance Sentimentale 2 eksemplarer
Problems of Film Direction (2004) 2 eksemplarer
The Soviet Screen (1939) 1 eksemplar
EL ACORAZADO POTEMKIN (1971) 1 eksemplar
Strike / October (2017) 1 eksemplar
The primal phenomenon : art (2017) 1 eksemplar
S. M. Eisenstein (1982) 1 eksemplar
Battleship Potemkin Excerpt — Instruktør — 1 eksemplar

Associated Works

Film: A Montage of Theories (1966) — Bidragyder — 82 eksemplarer
Avant-garde: Experimental Cinema of the 1920s and '30s (2005) — Instruktør — 21 eksemplarer
The Penguin Film Review 8 (1945) — Bidragyder — 4 eksemplarer
Chaplin básnik smiechu a sľz (1964) — Bidragyder — 1 eksemplar

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The propaganda message of the film is not simply "Communism good, Tsarism bad!" Marxist historians tended to play down the "Great Man" theory of history, arguing that historical events are brought about by impersonal economic forces rather than by great men, but this did not prevent Soviet propagandists, Eisenstein included, from idolising the Great Men of Communism, not only Marx and Engels but also Lenin and Stalin. "Battleship Potemkin", made a year after Lenin's death, subtly reinforces the idea of the Great Man. When the battleship puts to sea in the final scene it is clear that the mutinous sailors are not a disorganised rabble but are able to work together like parts of a machine, something emphasised by shots of the ship's machinery. Someone - we never learn who - is clearly giving them orders. Message to comrades: "Communism is not about anarchy! We might no longer have a Tsar but we still need leaders!"… (mere)
 
Markeret
jgcorrea | 4 andre anmeldelser | Mar 16, 2024 |
qual'è l'edizione originale di questa "autobiografia"? chi l'ha tradotta? informazioni mancanti, come l'altro libro su Brigitte Bardot dello stesso editore. No comment...
 
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anamorfo | Feb 18, 2023 |
Hay capítulos y párrafos ininteligibles, pero solo por "Dickens, Griffith y el filme de hoy" ya vale la pena.
 
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tomdoniphon | Apr 21, 2022 |

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Værker
111
Also by
4
Medlemmer
1,777
Popularitet
#14,489
Vurdering
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ISBN
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