Sergei Eisenstein

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Sergei Eisenstein
Sergei Mikhailovich Eizenshtein
BirthplaceRiga, Governorate of Livonia, Russian Empire

Eisenstein, Sergei Mikhailovich


Born Jan. 10 (22), 1898, in Riga; died Feb. 11,1948, in Moscow. Soviet motion-picture director, theoretician of art, and teacher. Honored Artist of the RSFSR (1935). Doctor of arts (1939).

Eisenstein, the son of an architect, studied at the Petrograd Institute of Civil Engineering. In 1918 he went to work on Red Army agitational trains. In 1920 he was in charge of stage design for the First Proletkul’t Workers’ Theater in Moscow. He studied under V. E. Meyerhold at the State Higher Directing Studios in 1921–22, and together with S. I. Iutkevich he staged a series of performances at the Mastfor Theater (Foregger’s Workshop). His first independent production was The Wise Man, based on A. N. Ostrovskii’s comedy Even a Wise Man Stumbles (1923). In 1923, Eisenstein published the article “The Montage of Attractions,” in which he expressed his fundamental theories of effecting social change through art.

Eisenstein’s Strike (released 1925) was the first film to depict the revolutionary masses as the moving force of history. The ideological and aesthetic principles of Strike were developed in Battleship Potemkin (1925), one of the greatest achievements of Soviet and world film-making. With classical perfection the film embodied the theme of revolution as a struggle for class equality, freedom, and human dignity. At the 1958 World’s Fair in Brussels it was ranked first among the 12 best films in history. In October (1927), Eisenstein, director G. V. Aleksandrov, and cameraman E. K. Tisse re-created the events of 1917 and made the first attempt to depict V. I. Lenin in a feature film. Advances in montage enabled Eisenstein to promote the idea of the “intellectual cinematographer” as a synthesizer of art and science. In 1929 he completed Old and New, the first Soviet film about cooperation and collectivization in the countryside.

Between 1929 and 1932, Eisenstein, Aleksandrov, and Tisse worked in France, the United States, and Mexico. The conditions of capitalist film-making prevented Eisenstein from realizing his artistic dreams. Que viva Mexico! remained unfinished, although it did mark the beginning of Mexican film-making.

After returning to his homeland, Eisenstein continued to work as a director, theoretician, and teacher. From 1935 to 1937 he worked on Bezhin Meadow, based on the murder of the pioneer Pavlik Morozov, but the film was not completed. Alexander Nevsky (1938), a patriotic film about the defeat of the German knights in the 13th century, became a triumph of Soviet filmmaking. Eisenstein’s last motion picture, the tragedy Ivan the Terrible (part 1,1945; part II released 1958), dealt with the theme of power. With its profound historical subject matter and intensive use of the expressive devices of the cinema, it became Eisenstein’s second masterpiece.

Eisenstein’s enormous theoretical heritage covers the fundamental problems of artistic creation, from general aesthetic concepts to concrete problems of film-making. He also wrote sociopolitical articles, essays, and memoirs. His drawings, which have been shown at posthumous exhibitions, reveal his unusual talent in the graphic arts. Eisenstein taught at the State Technicum of Cinematography from 1928, becoming a professor in 1937 (in 1938 it was renamed the All-Union State Institute of Cinematography).

Eisenstein was awarded the State Prize of the USSR (1941, 1946), the Order of Lenin, the Order of the Badge of Honor, and several medals.


Izbr, soch., vols. 1–6. Moscow, 1964–71.


Iutkevich, S. I. “S. Eizenshtein.” In his Kontrapunkt rezhissera. Moscow, 1960.
Iurenev, R. N. “Bronenosets ‘Potemkin’” S. Eizenshteina. [Moscow, 1965.]
Zorkaia, N. M. “S. Eizenshtein.” In her Portrety. Moscow, 1966.
Shklovskii, V. B. Eizenshtein. [Moscow, 1973.]
References in periodicals archive ?
Born this day in 1898, Sergei Eisenstein (Sergei Mikhailovich Eizenshtein) was a pioneer in the theory and practice of montage in film making- the technique of editing a fast-paced sequence of short shots to transcend time or suggest thematic juxtapositions.
Caption: Sergei Eisenstein's 1942 sketch for the scene of repentance for Ivan the Terrible.
(23) Sergei Eisenstein, Nonindifferent Nature: Film and the Structure of 'Things, ed.
Diante disso, importantes diretores da epoca como Charles Chaplin, Rene Clair e Sergei Eisenstein se posicionaram contra o tipo de uso do som que, efetivamente, passou a ser a norma no cinema dominante: a fala como elemento sonoro central e imagens de pessoas em dialogo, como se o cinema tivesse se tornado um "teatro filmado" (dai, os americamos chamarem esses filmes de talkies).
There is a long list of stage veterans who helped define film (Georges Melies, Charlie Chaplin, Mary Pickford, Sergei Eisenstein, Orson Welles) and TV (Lucille Ball, Sid Caesar, Milton Berle, Ernie Kovacs, Carl Reiner).
However, rather than stringing together a series of essays that attempt, as promised on the back cover, to establish "the symbolic meanings that colour bears in different cultures," and to engage "with a range of critical approaches to filmic colour, building on the work of such theorists as Sergei Eisenstein, Rudolf Arnheim, and Stanley Cavell," Coates should have found a lucid way of showing the reader how all of his chapters connect.
Clark structures her book around the careers of four Soviet intermediaries, among them Sergei Eisenstein, who traveled between the Soviet Union and the West in order to facilitate the flow of letters and to publicize the new cultural capital emerging in the Soviet Union.
In the section on literature, McKenna examines the use of proverbs in works by Catherine the Great, Leo Tolstoy, Boris Pasternak, Vladimir Nabokov, Alexander Solzhenitsyn, and Sergei Eisenstein. He then examines the use of proverbs in headlines in the newspaper Pravda, in Pravda cartoons, and in the speeches of Vladimir Putin.
In arguing that Losey's use of screen space owes a debt to Meyerhold's staging concepts, it is worthwhile to look for corroboration in the work of Sergei Eisenstein. He also made a change from theatre to film--albeit twenty-three years before Losey's first screen feature--and his connection to Meyerhold was long-standing and well documented.
David Hart Battleship Potemkin Michael Nyman Band at Symphony Hall Sergei Eisenstein's 1925 classic, Battleship Potemkin, has a long history of new soundtracks.
In a workshop on montage given in London in 1929, Sergei Eisenstein urged his students to 'choose pieces which do not fit.
Naum Kleiman is an historian of cinema, Russian film critic, specialist in Sergei Eisenstein, manager of the Moscow State Central Cinema Museum, Eisenstein-Centre director, actor and filmmaker.