Sergei Eisenstein (1898–1948)
Autor von 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 mehr anzeigen 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) weniger anzeigen
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Werke von Sergei Eisenstein
Nonindifferent Nature: Film and the Structure of Things (Cambridge Studies in Film) (1974) 18 Exemplare
Sergei M. Eisenstein: On the Composition of the Short Fiction Scenario (Eisenstein Texts) (1984) 9 Exemplare
Das Alte und das Neue (Die Generallinie) : mit den Notaten eines Vertonungsplanes und einem Briefwechsel mit Wilhelm… (1984) 4 Exemplare
Udvalgte skrifter 3 Exemplare
S. M. Eisenstein V.1 1922-34 3 Exemplare
Mettre en scene 2 Exemplare
Da Revolução à Arte, Da Arte à Revolução 2 Exemplare
Battleship Potemkin / The General Line 2 Exemplare
Romance Sentimentale 2 Exemplare
NYU The Drama Review, New York University, Popular Entertainments Issue, T61 Vol. 18 No. 1 2 Exemplare
Метод. Т. 1, Grundproblem 1 Exemplar
Ten Days That Shook the World VHS 1 Exemplar
Alexander Nevsky; Ivan the Terrible I & II 1 Exemplar
Oeuvres, Tome 2 : La non-indifférente nature / 1 (De la structure des choses, Le pathétique) -… (1975) 1 Exemplar
Lampi Sul Messico (Thunder Over Mexico) 1 Exemplar
The Fourth Dimension in Cinema 1 Exemplar
Oeuvres 1. Au delà des étoiles 1 Exemplar
Selected works, volume 2: theory of montage 1 Exemplar
S.M. Eisenstein : dibujos mexicanos inéditos 1 Exemplar
Yo Ich Selbst Memoiren 1 Exemplar
Uber Kunst und Kunstler: Aus d. Russ. : [uber ElGreco, Gotik, Piranesi, Wagner, Puschkin] (Reihe Passagen) (German… (1977) 1 Exemplar
Au-delà des étoiles 1 Exemplar
Battleship Potemkin Excerpt — Regisseur — 1 Exemplar
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- Gebräuchlichste Namensform
- Eisenstein, Sergei
- Geburtstag
- 1898-01-23
- Todestag
- 1948-02-11
- Geschlecht
- male
- Nationalität
- Russia
- Berufe
- Film director
teacher
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- Government Film Institute (Moscow)
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Battleship Potemkin von Sergei M. Eisenstein
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!"… (mehr)
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...
Hay capítulos y párrafos ininteligibles, pero solo por "Dickens, Griffith y el filme de hoy" ya vale la pena.
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