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Sergei Eisenstein
Born Sergei Mikhailovich Eizenshtein
January 23, 1898
Riga, Russian Empire
Died February 11, 1948 (aged 50)
Moscow, Soviet Union
Years active 1923-1946
Spouse(s) Pera Atasheva (1934-1948)

Sergei Mikhailovich Eisenstein (Russian: Сергей Михайлович Эйзенштейн Sergej Mihajlovič Ejzenštejn; January 23, 1898 – February 11, 1948) was a revolutionary Soviet Russian film director and film theorist noted in particular for his silent films Strike, Battleship Potemkin and October, as well as historical epics Alexander Nevsky and Ivan the Terrible. His work vastly influenced early filmmakers owing to his innovative use of and writings about montage.

Contents

Early years

Young Sergei with his parents Mikhail and Julia Eisenstein.

Eisenstein was born in Riga, Latvia but his family moved frequently in his early years, as Eisenstein continued to do throughout his life. Eisenstein's father Mikhail Osipovich Eisenstein was of German-Jewish and Swedish[1] descent[2] and his mother, Julia Ivanovna Konetskaya, was from a Russian Orthodox family. He was born into a middle-class family.[3] His father was an architect and his mother was the daughter of a prosperous merchant.[4] Julia left Riga the year of the 1905 Revolution, bringing Sergei with her to St. Petersburg.[5] Sergei would return at times to see his father, who later moved to join them around 1910.[6] Divorce followed this time of separation, with Julia deserting the family to live in France.[7]

At the Petrograd Institute of Civil Engineering, Sergei studied architecture and engineering, the profession of his father.[8] At school with his fellow students however, Sergei would join the military to serve the revolution, which would divide him from his father. In 1918 Sergei joined the Red Army with his father Mikhail supporting the opposite side.[9] This brought his father to Germany after defeat, and Sergei to Petrograd, Vologda, and Dvinsk.[10] In 1920, Sergei was transferred to a command position in Minsk, after success providing propaganda for the October Revolution. At this time, Sergei studied Japanese—he learned some three hundred kanji characters which he cited as an influence on his pictorial development,[11] and gained an exposure to Kabuki theatre,[12] these studies led to travel to Japan.

From theatre to cinema

With Japanese kabuki actor Sadanji Ichikawa II, Moscow, 1928

In 1920 Eisenstein moved to Moscow, and began his career in theatre working for Proletkult.[13] His productions there were entitled Gas Masks, Listen Moscow, and Wiseman,[14] Eisenstein would then work as a designer for Vsevolod Meyerhold.[15] In 1923 Eisenstein began his career as a theorist,[16] by writing The Montage of Attractions for LEF.[17] Eisenstein's first film, Glumov's Diary, was also made in that same year with Dziga Vertov hired initially as an "instructor."[18][19] The film formed part of his theatre production Wiseman.

"Strike" (1925) was Eisensteins first full length feature film. The Battleship Potemkin (1925) was acclaimed critically worldwide. But it was mostly his international critical renown which enabled Eisenstein to direct October (aka Ten Days That Shook The World), as part of a grand tenth anniversary celebration of the October Revolution of 1917, and then The General Line (aka Old and New). The critics of the outside world praised them, but at home, Eisenstein's focus in these films on structural issues such as camera angles, crowd movements and montage, brought him and likeminded others, such as Vsevolod Pudovkin and Alexander Dovzhenko, under fire from the Soviet film community, forcing him to issue public articles of self-criticism and commitments to reform his cinematic visions to conform to socialist realism's increasingly specific doctrines.[citation needed]

Travels to Europe

In the autumn of 1928, with October still under fire in many Soviet quarters, Eisenstein left the Soviet Union for a tour of Europe, accompanied by his perennial film collaborator Grigori Aleksandrov and cinematographer Eduard Tisse. Officially, the trip was supposed to allow Eisenstein and company to learn about sound motion pictures and to present the famous Soviet artists, in person, to the capitalist West. For Eisenstein, however, it was also an opportunity to see landscapes and cultures outside those found within the Soviet Union. He spent the next two years touring and lecturing in Berlin, Zurich, London, and Paris.[20] In 1929, in Switzerland, Eisenstein supervised an educational documentary about abortion directed by Edouard Tissé entitled Frauennot - Frauenglück.[21]

American projects

In late April 1930, Jesse L. Lasky, on behalf of Paramount Pictures, offered him the opportunity to make a film in the United States.[22] He accepted a short-term contract for $100,000 and arrived in Hollywood in May 1930. However, this arrangement failed. Eisenstein's idiosyncratic and artistic approach to cinema was incompatible with the more formulaic and commercial approach of American studios.

Eisenstein proposed a biography of munitions tycoon Sir Basil Zaharoff and a film version of Arms and the Man by George Bernard Shaw, and more fully developed plans for a film of Sutter's Gold by Jack London,[23] but on all accounts failed to impress the studio's producers.[24] Paramount then proposed a movie version of Theodore Dreiser's An American Tragedy.[25] This excited Eisenstein, who had read and liked the work, and had met Dreiser at one time in Moscow. Eisenstein completed a script by the start of October 1930,[26] but Paramount disliked it completely and, additionally, found themselves intimidated by Major Frank Pease,[27] president of the Hollywood Technical Director's Institute. Pease, an anti-communist, mounted a public campaign against Eisenstein. On October 23, 1930, by "mutual consent," Paramount and Eisenstein declared their contract null and void, and the Eisenstein party were treated to return tickets to Moscow, at Paramount's expense.[28]

Eisenstein was thus faced with returning home a failure. The Soviet film industry was solving the sound-film issue without him and his films, techniques and theories were becoming increasingly attacked as 'ideological failures' and prime examples of formalism. Many of his theoretical articles from this period, such as Eisenstein on Disney have surfaced decades later as seminal scholarly texts used as curriculum in film schools around the world.

Eisenstein and his entourage spent considerable time with Charlie Chaplin,[29] who recommended that Eisenstein meet with a sympathetic benefactor in the person of American socialist author Upton Sinclair.[30] Sinclair's works had been accepted by and were widely read in the USSR, and were known to Eisenstein. The two had mutual admiration and between the end of October 1930, and Thanksgiving of that year, Sinclair had secured an extension of Eisenstein's absences from the USSR, and permission for him to travel to Mexico to make a film to be produced by Sinclair and his wife, Mary Craig Kimbrough Sinclair, and three other investors organized as the Mexican Film Trust.[31]

Mexican Odyssey

On November 24, Eisenstein signed a contract with the Trust "upon the basis of Eisenstein's desire to be free to direct the making of a picture according to his own ideas of what a Mexican picture should be, and in full faith in Eisenstein's artistic integrity."[32] The contract also stipulated that the film would be "non-political," that immediately available funding came from Mrs. Sinclair in an amount of "not less than Twenty-Five Thousand Dollars,"[33] that the shooting schedule amounted to "a period of from three to four months,"[33] and most importantly that "Eisenstein furthermore agrees that all pictures made or directed by him in Mexico, all negative film and positive prints, and all story and ideas embodied in said Mexican picture, will be the property of Mrs. Sinclair..."[33] A codicil to the contract, dated December 1, allowed that the "Soviet Government may have the [finished] film free for showing inside the U.S.S.R."[34] Reportedly, it was verbally clarified that the expectation was for a finished film of about an hour's duration.

By December 4, 1930, Eisenstein was en route to Mexico by train, accompanied by Alexandrov and Tisse. Later he produced a brief synopsis of the six-part film which would come, in one form or another, to be the final plan Eisenstein would settle on for his project. The title for the project, ¡Que viva México!, was decided on some time later still. While in Mexico Eisenstein mixed socially with Frida Kahlo, and Diego Rivera. Eisenstein admired these artists as much as Mexican culture in general, they inspired Eisenstein to call his films, "moving frescoes."[35]

After a prolonged absence, Stalin sent a telegram expressing the concern that Eisenstein had become a deserter.[36] Under pressure, Eisenstein blamed Mary Sinclair's younger brother, Hunter Kimbrough—who had been sent along to act as a line producer, for the film's problems.[37] Eisenstein hoped to pressure the Sinclairs to insinuate themselves between him and Stalin, so Eisenstein could finish the film in his own way.

The furious Sinclair shut down production and ordered Kimbrough to return to the United States with the remaining film footage and the three Soviets to see what they could do with the film already shot, estimates ranging from 170,000 lineal feet with "Soldadera" unfilmed,[38] to an excess of 250,000 lineal feet.[39] For the unfinished filming of the "novel" of Soldadera, without incurring any cost, Eisenstein had secured 500 soldiers, 10,000 guns, and 50 cannons from the Mexican Army.[37] but this was lost due to Sinclair's canceling of production.

When Eisenstein arrived at the American border, a customs search of his trunk revealed sketches and drawings of Jesus caricatures amongst other material of a lewd pornographic nature.[40][41] Eisenstein's re-entry visa had expired,[42] and Sinclair's contacts in Washington were unable to secure him an additional extension. Eisenstein, Alexandrov and Tisse were, after a month's stay at the U.S.-Mexico border outside Laredo, Texas, allowed a 30-day "pass" to get from Texas to New York,[42] and thence depart for Moscow, while Kimbrough returned to Los Angeles with the remaining film.

Eisenstein toured the American South, on his way to New York. In mid-1932, the Sinclairs were able to secure the services of Sol Lesser, who had just opened his own distribution office in New York, Principal Distributing Corp.. Lesser agreed to supervise post-production work on the miles of negative — at the Sinclairs expense — and distribute any resulting product. Two short feature films and a short subject — Thunder Over Mexico based on the "Maguey" footage,[43] Eisenstein in Mexico, and Death Day respectively — were completed and released in the United States between the autumn of 1933 and early 1934.

Eisenstein never saw any of the Sinclair-Lesser films, nor a later effort by his first biographer, Marie Seton, called Time In The Sun.[44] He would publicly maintain that he had lost all interest in the project.

Return to Soviet Union

Eisenstein's foray into the west made the staunchly Stalinist film industry look upon him with a suspicion that would never completely disappear. He apparently spent some time in a mental hospital in Kislovodsk in July 1933,[45] ostensibly a result of depression born of his final acceptance that he would never be allowed to edit the Mexican footage which was turned over by Sinclair to Hollywood editors, who would irreparably alter the negatives.[46]

He was subsequently assigned a teaching position with the film school GIK (now Gerasimov Institute of Cinematography) where he had taught earlier and in 1933 and 1934 was in charge of writing curriculum.[47] Eisenstein married filmmaker and writer Pera Atasheva (1900–65) in 1934[48] and remained married until his death in 1948, though there is some speculation about his sexuality.[49]

In 1935, he began another project, Bezhin Meadow, but it appears the film was afflicted with many of the same problems as Que Viva Mexico— Eisenstein unilaterally decided to film two versions of the scenario, one for adult viewers and one for children; failed to define a clear shooting schedule; and shot film prodigiously, resulting in cost overruns and missed deadlines. Even though Soviet film executive Boris Shumyatsky encouraged Sinclair in undermining Eisenstein[46] it was derailed not as much as Bezhin Meadow by the Soviet film industry, but by its American backers.[50]

The thing which appeared to save Eisenstein's career at this point was that Stalin ended up taking the position that the Bezhin Meadow catastrophe, along with several other problems facing the industry at that point, had less to do with Eisenstein's approach to filmmaking as with the executives who were supposed to have been supervising him. Ultimately this came down on the shoulders of Boris Shumyatsky,[51] "executive producer" of Soviet film since 1932, who in early 1938 was denounced, arrested, tried and convicted as a traitor, and shot. (The production executive at Film studio Mosfilm, where Meadow was being made, was also replaced, but without further executions.)

Comeback

Eisenstein was thence able to ingratiate himself with Stalin for 'one more chance', and he chose, from two offerings, the assignment of a biopic of Alexander Nevsky, with music composed by Sergei Prokofiev. This time, however, he was also assigned a co-scenarist, Pyotr Pavlenko,[52] to bring in a completed script; professional actors to play the roles; and an assistant director, Dmitri Vasilyev, to expedite shooting.[52]

The result was a film critically received by both the Soviets and in the West, which won him the Order of Lenin and the Stalin Prize.[53] It was an obvious allegory and stern warning against the massing forces of Nazi Germany, well-played and well-made. This was started, completed, and placed in distribution all within the year 1938, and represented not only Eisenstein's first film in nearly a decade, but also his first sound film.

Unfortunately, within months of its release, the mercurial Stalin entered into his infamous pact with Hitler, and Nevsky was promptly pulled from distribution. Thwarted again on the morning of triumph, Eisenstein returned to teaching and was assigned to direct Richard Wagner's Die Walküre at the Bolshoi Theatre.[53] Eisenstein had to wait until Hitler's double-cross sent German troops pouring across the Soviet border in a devastating first strike, to see "his" success receive its just, wide distribution and real international success.

With the war approaching Moscow, Eisenstein was one of many filmmakers evacuated to Alma-Ata, where he first considered the idea of making a film about Czar Ivan IV. Eisenstein corresponded with Prokofiev from Alma Ata, and was joined by him there in 1942. Prokofiev composed the score for Eisenstein's film and Eisenstein reciprocated by designing sets for an operatic rendition of War and Peace that Prokofiev was developing.[54]

Ivan trilogy

Eisenstein's film, Ivan The Terrible, Part I, presenting Ivan IV of Russia as a national hero, won Stalin's approval (and a Stalin Prize),[55] but the sequel, Ivan The Terrible, Part II was not approved of by the government. All footage from the still incomplete Ivan The Terrible: Part III was confiscated, and most of it was destroyed[56] (though several filmed scenes still exist today). Eisenstein's health was also failing, he was struck by a heart attack during the making of this picture, and soon died of another at the age of 50.[57] He is buried at Novodevichy Cemetery in Moscow.

Film theorist

Eisenstein wrote some film theories that influenced posterity.

Eisenstein was a pioneer in the use of montage, a specific use of film editing. He and his contemporary, Lev Kuleshov, two of the earliest film theorists, argued that montage was the essence of the cinema. His articles and books — particularly Film Form and The Film Sense — explain the significance of montage in detail.

His writings and films have continued to have a major impact on subsequent filmmakers. Eisenstein believed that editing could be used for more than just expounding a scene or moment, through a "linkage" of related images. Eisenstein felt the "collision" of shots could be used to manipulate the emotions of the audience and create film metaphors. He believed that an idea should be derived from the juxtaposition of two independent shots, bringing an element of collage into film. He developed what he called "methods of montage":

  1. Metric[58]
  2. Rhythmic[59]
  3. Tonal[60]
  4. Overtonal[61]
  5. Intellectual[62]

Eisenstein taught film making during his career at GIK where he wrote the curricula for the directors' course,[63] his classroom illustrations are reproduced in Vladimir Nizhniĭ's Lessons with Eisenstein. Exercises and examples for students were based on rendering literature such as Honoré de Balzac's Le Père Goriot.[64] Another hypothetical was the staging of the Haitian struggle for independence as depicted in Anatolii Vinogradov's The Black Consul,[65] influenced as well by John Vandercook's Black Majesty.[66] Lessons from this scenario delved into the character of Jean-Jacques Dessalines, replaying his movements, actions and the drama surrounding him. Further to the didactics of literary and dramatic content, Eisenstein taught the technicalities of directing, photography, and editing; while encouraging his students' development of individuality, expressiveness, and creativity.[67] Eisenstein's pedagogy, like his films, were politically charged and contained quotes from Vladimir Lenin interwoven with his teaching.[68]

In his initial films, Eisenstein did not use professional actors. His narratives eschewed individual characters and addressed broad social issues, especially class conflict. He used stock characters, and the roles were filled with untrained people from the appropriate classes; he avoided casting stars.[69] Eisenstein's vision of communism brought him into conflict with officials in the ruling regime of Joseph Stalin. Like many Bolshevik artists, Eisenstein envisioned a new society which would subsidize artists totally, freeing them from the confines of bosses and budgets, leaving them absolutely free to create, but budgets and producers were as significant to the Soviet film industry as the rest of the world. The fledgling war- and revolution-wracked and isolated new nation did not have the resources to nationalize its film industry at first. When it did, limited resources — both monetary and equipment — required production controls as extensive as in the capitalist world.

Filmography

List of writings

  • Selected articles in: Christie, Ian; Taylor, Richard, eds. (1994), The Film Factory: Russian and Soviet Cinema in Documents, 1896-1939, New York, New York: Routledge, ISBN 041505298X .
  • Eisenstein, Sergei (1949), Film Form: Essays in Film Theory, New York: Hartcourt . Trans. Jay Leyda.
  • Eisenstein, Sergei (1942) The Film Sense, New York: Hartcourt, Trans. Jay Leyda.
  • Eisenstein, Sergei (1972), Que Viva Mexico!, New York: Arno, ISBN 978-0405039164 .
  • Eisenstein, Sergei (1994) Towards a Theory of Montage, British Film Institute.
In Russian, and available online
  • Эйзенштейн, Сергей (1968), "Сергей Эйзенштейн" (избр. произв. в 6 тт), Москва: Искусство , Избранные статьи.

Notes

  1. ^ [1]
  2. ^ Literaty Encyclopedia
  3. ^ Эйзенштейн 1968 [2]
  4. ^ Bordwell 1993, p. 1
  5. ^ Seton 1952, p. 19
  6. ^ Seton 1952, p. 20
  7. ^ Seton 1952, p. 22
  8. ^ Seton 1952, p. 28
  9. ^ Seton 1952, pp. 34-35
  10. ^ Seton 1952, p. 35
  11. ^ Эйзенштейн 1968 [3]
  12. ^ Seton 1952, p. 37
  13. ^ Seton 1952, p. 41
  14. ^ Seton 1952, p. 529
  15. ^ Seton 1952, pp. 46-48
  16. ^ Seton 1952, p. 61
  17. ^ Christie & Taylor 1994, pp. 87-89
  18. ^ Эйзенштейн 1968 [4]
  19. ^ Goodwin 1993, p. 32
  20. ^ Eisenstein 1972, p. 8
  21. ^ Bordwell 1993, p. 16
  22. ^ Geduld & Gottesman 1970, p. 12
  23. ^ Montagu 1968, p. 151
  24. ^ Seton 1952, p. 172
  25. ^ Seton 1952, p. 174
  26. ^ Montagu 1968, p. 209
  27. ^ Seton 1952, p. 167
  28. ^ Seton 1952, pp. 185-186
  29. ^ Montagu 1968, pp. 89-97
  30. ^ Seton 1952, p. 187
  31. ^ Seton 1952, p. 188
  32. ^ Seton 1952, p. 189
  33. ^ a b c Geduld & Gottesman 1970, p. 22
  34. ^ Geduld & Gottesman 1970, p. 23
  35. ^ Bordwell 1993, p. 19
  36. ^ Seton 1952, p. 513
  37. ^ a b Geduld & Gottesman 1970, p. 281
  38. ^ Eisenstein 1972, p. 14
  39. ^ Geduld & Gottesman 1970, p. 132
  40. ^ Seton 1952, pp. 234-235
  41. ^ Geduld & Gottesman 1970, pp. 309-310
  42. ^ a b Geduld & Gottesman 1970, p. 288
  43. ^ Bordwell 1993, p. 21
  44. ^ Seton 1952, p. 446
  45. ^ Seton 1952, p. 280
  46. ^ a b Leyda 1960, p. 299
  47. ^ Bordwell 1993, p. 140
  48. ^ Bordwell 1993, p. 33
  49. ^ Aldrich & Wotherspoon 2002 pp. 170–1.
  50. ^ Leyda 1960, p. 275
  51. ^ Seton 1952, p. 369
  52. ^ a b Bordwell 1993, p. 27
  53. ^ a b Bordwell 1993, p. 28
  54. ^ Leyda & Voynow 1982, p. 146
  55. ^ Neuberger 2003, p. 22
  56. ^ Leyda & Voynow 1982, p. 135
  57. ^ Neuberger 2003, p. 23
  58. ^ Eisenstein 1949, p. 72
  59. ^ Eisenstein 1949, p. 73
  60. ^ Eisenstein 1949, p. 75
  61. ^ Eisenstein 1949, p. 78
  62. ^ Eisenstein 1949, p. 82
  63. ^ Nizhniĭ 1962, p. 93
  64. ^ Nizhniĭ 1962, p. 3
  65. ^ Nizhniĭ 1962, p. 21
  66. ^ Leyda & Voynow 1982, p. 74
  67. ^ Nizhniĭ 1962, pp. 148-155
  68. ^ Nizhniĭ 1962, p. 143
  69. ^ Seton 1952, p. 185

References

  • Bergan, Ronald (1999), Sergei Eisenstein: A Life in Conflict, Boston, Massachusetts: Overlook Hardcover, ISBN 978-0879519247 
  • Bordwell, David (1993), The Cinema of Eisenstein, Cambridge, Massachusetts: Harvard University Press, ISBN 978-0674131385 
  • Geduld, Harry M.; Gottesman, Ronald, eds. (1970), Sergei Eisenstein and Upton Sinclair: The Making & Unmaking of Que Viva Mexico!, Bloomington, Indiana: Indiana University Press, ISBN 978-0253180506 
  • Goodwin, James (1993), Eisenstein, Cinema, and History, Urbana: University of Illinois Press, ISBN 0252062698 
  • Leyda, Jay (1960), Kino: A History Of The Russian And Soviet Film, New York: Macmillan, OCLC 1683826 
  • Leyda, Jay (1986), Eisenstein on Disney, London: Methuen, ISBN 0413196402 
  • Leyda, Jay; Voynow, Zina (1982), Eisenstein At Work, New York: Pantheon, ISBN 978-0394748122 
  • Montagu, Ivor (1968), With Eisenstein in Hollywood, Berlin: Seven Seas Books, OCLC 8713 
  • Neuberger, Joan (2003), Ivan the Terrible: The Film Companion, London; New York: I.B. Tauris, ISBN 1860645607 
  • Nizhniĭ, Vladimir (1962), Lessons with Eisenstein, New York: Hill and Wang, OCLC 6406521 
  • Seton, Marie (1952), Sergei M. Eisenstein: A Biography, New York: A.A. Wyn, OCLC 2935257 
  • Howes, Keith (2002), "Eisenstein, Sergei (Mikhailovich)", in Aldrich, Robert; Wotherspoon, Garry, Who's Who in Gay and Lesbian History from Antiquity to World War II, Routledge; London, ISBN 0-415-15983-0 
  • Stern, Keith (2009), "Eisenstein, Sergei", Queers in History, BenBella Books, Inc.; Dallas, Texas, ISBN 978-1933771-87-8 

Documentaries

  • The Secret Life of Sergei Eisenstein (1987) by Gian Carlo Bertelli

External links


Simple English

Sergei Eisenstein
Born Sergei Mikhailovich Eizenshtein
January 23, 1898
Riga, Russian Empire
Died February 11, 1948 (aged 50)
Moscow, Soviet Union
Years active 1923-1946
Spouse Pera Atasheva (1934-1948)

Sergei Mikhailovich Eisenstein (Russian: Сергей Михайлович Эйзенштейн Sergej Mihajlovič Ejzenštejn; January 23, 1898 – February 11, 1948) was a Soviet Russian film director and film theorist. He was known mostly for his silent films Strike, Battleship Potemkin and October. He was also known for his historical epics Alexander Nevsky and Ivan the Terrible. His work had a major impact on early film directors because of his creative use of and writings about montage.

Contents

Biography

Early years

[[File:|thumb|upright|Young Sergei with his parents Mikhail and Julia Eisenstein.|left]] Eisenstein was born in Riga, Latvia but his family moved a lot in his early years. Eisenstein continued to move often during his life. Eisenstein's father Mikhail Osipovich Eisenstein was of German-Jewish and Swedish[1] descent[2] and his mother, Julia Ivanovna Konetskaya, was from a Russian Orthodox family. He was born into a middle-class family.[3] His father was an architect and his mother was the daughter of a wealthy merchant.[4] Julia left Riga the year of the 1905 Revolution. She brought Sergei with her to St. Petersburg.[5] Sergei would return at times to see his father. His father would later move to join them around 1910.[6] His mother soon divorced his father and moved to France away from the family.[7]

At the Petrograd Institute of Civil Engineering, Sergei studied architecture and engineering, the job of his father.[8] At school with his fellow students however, Sergei would join the military to serve the revolution. His father did not support his joining the army. In 1918 Sergei joined the Red Army with his father, Mikhail, supporting the opposite side.[9] This brought his father to Germany after defeat, and Sergei to Petrograd, Vologda, and Dvinsk.[10] In 1920, Sergei was transferred to a command position in Minsk, after success providing propaganda for the October Revolution. At this time, Sergei studied Japanese. He learned some three hundred kanji characters which he cited as an influence on his pictorial development.[11] This also allowed him to see Kabuki theatre.[12] Because of his studies, he traveled to Japan.

From theatre to cinema

File:Sadanji Ichikawa II and Sergei
With Japanese kabuki actor Sadanji Ichikawa II, Moscow, 1928

In 1920 Eisenstein moved to Moscow, and began his career in theatre working for Proletkult.[13] His productions there were named Gas Masks, Listen Moscow, and Wiseman[14]. Eisenstein would then work as a designer for Vsevolod Meyerhold.[15] In 1923 Eisenstein began his career as a theorist,[16] by writing The Montage of Attractions for LEF.[17] Eisenstein's first film, Glumov's Diary, was also made in that same year. Dziga Vertov hired at first as an "instructor" for the film[18][19] The film formed part of his theatre production Wiseman.

"Strike" (1925) was Eisenstein's first full-length feature film. The Battleship Potemkin (1925) was well liked by critics throughout the world. Because he was known throughout the world, Eisenstein was able to direct October (also known as Ten Days That Shook The World). The film was part of the tenth anniversary celebration of the October Revolution of 1917. He then directed The General Line (also known as Old and New). People in the outside world praised the films. However, in the Soviet Union, Eisenstein's focus on structural issues such as camera angles, crowd movements and montage, was not liked by the much of the Soviet film community.

Travels to Europe

In the autumn of 1928, Eisenstein left the Soviet Union for a tour of Europe. He was joined by Grigori Aleksandrov and cinematographer Eduard Tisse. The trip was supposed to allow Eisenstein and others to learn about sound motion pictures. It would also show the famous Soviet artists to the capitalist West. For Eisenstein, however, it was also an opportunity to see landscapes and cultures outside those found within the Soviet Union. He spent the next two years touring and lecturing in Berlin, Zurich, London, and Paris.[20] In 1929, in Switzerland, Eisenstein supervised an educational documentary about abortion directed by Edouard Tissé entitled Frauennot - Frauenglück.[21]

American projects

In late April 1930, Jesse L. Lasky, working for Paramount Pictures, offered Eisenstein the chance to make a film in the United States.[22] He accepted a short-term contract for $100,000 and arrived in Hollywood in May 1930. However, this agreement failed. Eisenstein's approach to filmmaking did not work with the style and way films were made in American film studios.

Eisenstein proposed a biography of munitions invester Sir Basil Zaharoff and a film version of Arms and the Man by George Bernard Shaw. He also made plans for a film of Sutter's Gold by Jack London.[23] But the studio's producers did not like the plan.[24] Paramount then proposed a movie version of Theodore Dreiser's An American Tragedy.[25] This excited Eisenstein, who had read and liked the work, and had met Dreiser at one time in Moscow. Eisenstein completed a script by the start of October 1930.[26] Paramount disliked it completely. They also found themselves intimidated by Major Frank Pease,[27] president of the Hollywood Technical Director's Institute. Pease, an anti-communist, started a public campaign against Eisenstein. On October 23, 1930, Paramount and Eisenstein declared their contract canceled. Eisenstein and his film partners were given return tickets to Moscow, at Paramount's expense.[28]

Eisenstein was faced with returning home as a failure. The Soviet film industry was solving the sound-film issue without him and his films. His methods and ideas were becoming increasingly attacked as 'ideological failures'. They were called examples of formalism. Many of his theoretical articles from this period, such as Eisenstein on Disney, have been found decades later as important scholarly texts. These are used in film schools around the world.

Eisenstein spent a large amount of time with Charlie Chaplin.[29] Chaplin recommended that Eisenstein meet American socialist author Upton Sinclair who Chaplin thought might help Eisenstein.[30] Sinclair's works had been accepted by and were widely read in the Soviet Union, and were known to Eisenstein. The two liked each other's work. Between the end of October 1930, and Thanksgiving of that year, Sinclair had gotten an extension of Eisenstein's leave from the Soviet Union. He also received permission for Eisenstein to travel to Mexico to make a film to be produced by Sinclair and his wife, Mary Craig Kimbrough Sinclair. They joined with three other investors to make the Mexican Film Trust.[31]

Trip to Mexico

On November 24, Eisenstein signed a contract with the Trust. The deal was "upon the basis of Eisenstein's desire to be free to direct the making of a picture according to his own ideas of what a Mexican picture should be, and in full faith in Eisenstein's artistic integrity."[32] The contract also said that the film would be "non-political." The money first came from Mrs. Sinclair and would be "not less than Twenty-Five Thousand Dollars."[33] The schedule for making the movie would be "a period of from three to four months,"[33]. The contract also said that "Eisenstein...agrees that all pictures made or directed by him in Mexico, all negative film and positive prints, and all story and ideas embodied in said Mexican picture, will be the property of Mrs. Sinclair..."[33] An addition to the contract, dated December 1, allowed that the "Soviet Government may have the [finished] film free for showing inside the U.S.S.R."[34] Reportedly, it was verbally decided that the film was expected to be an hour long.

By December 4, 1930, Eisenstein was on his way to Mexico by train. He was joined by Alexandrov and Tisse. Later he came up with a short summary of the six-part film which would come. This would be the final plan Eisenstein would settle on for his project. The title for the project, ¡Que viva México!, was decided on some time later. While in Mexico, Eisenstein mixed socially with Frida Kahlo and Diego Rivera. Eisenstein liked these artists and Mexican culture in general. They inspired Eisenstein to call his films, "moving frescoes."[35]

After a long time away from the Soviet Union, Stalin sent a telegram saying he was worried that Eisenstein had become a deserter.[36] Eisenstein blamed Mary Sinclair's younger brother, Hunter Kimbrough, for the film's problems.[37] Kimbrough had been sent along to act as a line producer on the film. Eisenstein hoped to pressure the Sinclairs to stop Stalin, so Eisenstein could finish the film in his own way.

The upset Sinclair shut down production. He ordered Kimbrough to return to the United States with the remaining film footage. The three Soviets came as well to see what they could do with the film already shot. For the unfinished filming of the "novel" of Soldadera, Eisenstein had gotten 500 soldiers, 10,000 guns, and 50 cannons from the Mexican Army.[37] This was lost due to Sinclair's canceling of production.

When Eisenstein arrived at the American border, a customs search of his trunk revealed sketches and drawings of Jesus along with other material of a pornographic nature.[38][39] Eisenstein's re-entry visa had expired,[40] and Sinclair's contacts in Washington were unable to secure him an additional extension. Eisenstein, Alexandrov and Tisse were, after a month's stay at the U.S.-Mexico border outside Laredo, Texas, allowed a 30-day "pass" to get from Texas to New York.[40] From there, they would be allowed to leave for Moscow. Kimbrough returned to Los Angeles with the remaining film.

Eisenstein toured the American South, on his way to New York. In mid-1932, the Sinclairs were able to get the services of Sol Lesser. Lesser had just opened his own distribution office in New York, Principal Distributing Corp.. Lesser agreed to supervise post-production work on the miles of negative — at the Sinclairs' expense — and distribute any finished product. Two short feature films and a short subject — Thunder Over Mexico based on the "Maguey" footage,[41] Eisenstein in Mexico, and Death Day respectively — were completed and released in the United States between the autumn of 1933 and early 1934.

Eisenstein never saw any of the Sinclair-Lesser films, nor a later effort by his first biographer, Marie Seton, called Time In The Sun.[42] He would publicly say that he had lost all interest in the project.

Return to Soviet Union

Eisenstein's trip to the west made the Soviet film business look at him with a suspicion that would never completely go away. He apparently spent some time in a mental hospital in Kislovodsk in July 1933.[43] This was possibly a result of depression because he realized that he would never be allowed to edit the Mexican footage which was turned over by Sinclair to Hollywood editors.[44]

He was then given a teaching job with the film school GIK (now Gerasimov Institute of Cinematography) where he had taught before. In 1933 and 1934 he was in charge of writing the education plan.[45] Eisenstein married filmmaker and writer Pera Atasheva (1900–65) in 1934.[46] They remained married until his death in 1948. There is some question about his sexuality.[47]

In 1935, he began another project, Bezhin Meadow. It appears the film had many of the same problems as Que Viva Mexico. Eisenstein decided to film two versions of the plot. One was for adult viewers and one was for children. He failed to set a clear shooting schedule. He also used a lot of film which meant a lot of costs and missed deadlines. The film ran into problems because it was not fully supported by its American financers.[48]

The thing that may have saved Eisenstein's career at this point was that Stalin ended up saying that the Bezhin Meadow problems, along with several other problems facing the business, had less to do with Eisenstein's approach to filmmaking as with the executives who were supposed to have been watching him. In the end, this made Boris Shumyatsky,[49] "executive producer" of Soviet film since 1932 to blame. In early 1938, he was denounced, arrested, tried and convicted as a traitor, and shot. (The production executive at Film studio Mosfilm, where Meadow was being made, was also replaced, but without more executions).

Return to success

Eisenstein was then able to impress Stalin again for "one more chance", and he chose, from two offerings, the job of a film of Alexander Nevsky, with music composed by Sergei Prokofiev. This time, however, he was also given a co-writer, Pyotr Pavlenko,[50] to bring in a completed script. He had professional actors to play the roles. He also had an assistant director, Dmitri Vasilyev, to make the filming faster.[50]

The result was a film critically received by both the Soviets and in the West. He won the Order of Lenin and the Stalin Prize.[51] It was an obvious allegory and hard warning against the growing forces of Nazi Germany. This was started, completed, and put in theatres all within 1938. It was Eisenstein's first film in nearly a decade. It also his first film with sound.

But, within months of its release, Stalin entered into his agreement with Hitler. Nevsky was quickly pulled from distribution. Eisenstein returned to teaching. He was assigned to direct Richard Wagner's Die Walküre at the Bolshoi Theatre.[51] Eisenstein had to wait until Hitler's sent German troops across the Soviet border in a fatal first strike, to see Nevsky receive wide distribution and real international success.

With the war coming to Moscow, Eisenstein was one of many filmmakers evacuated to Alma-Ata. There is where he first considered the idea of making a film about Czar Ivan IV. Eisenstein wrote letters to Prokofiev from Alma-Ata. Prokofiev joined him there in 1942. Prokofiev composed the score for Eisenstein's film. Eisenstein designed sets for an opera version of War and Peace that Prokofiev was creating.[52]

Ivan trilogy

Eisenstein's film, Ivan The Terrible, Part I, showing Ivan IV of Russia as a national hero, was liked by Joseph Stalin (and it won a Stalin Prize).[53] The sequel, Ivan The Terrible, Part II, was not approved of by the government. All the film from the not-finished Ivan The Terrible: Part III was taken away, and most of it was destroyed[54] (though several filmed scenes still exist today).

Eisenstein's health was also failing. He had a heart attack during the making of this film. He died soon after of another heart attack at the age of 50.[55] He is buried at Novodevichy Cemetery in Moscow.

Film theorist

File:Sergei Eisenstein
Eisenstein wrote some film theories that influenced future people.

Eisenstein was one of the first to use montage, a specific form of film editing. He and Lev Kuleshov, two of the first film theorists, said that montage was the basis of film. His articles and books — especially Film Form and The Film Sense — explain the need for montage in detail.

His writings and films have continued to have a major impact on later filmmakers. Eisenstein believed that editing could be used for more than just explaining a scene or moment through a "linkage" of related images. Eisenstein felt the "collision" of shots could be used to control the feelings of the audience and create film metaphors. He believed that an idea should be concluded from comparing two different shots. This is what made a collage or montage within film. He developed what he called "methods of montage":

  1. Metric[56]
  2. Rhythmic[57]
  3. Tonal[58]
  4. Overtonal[59]
  5. Intellectual[60]

Eisenstein taught film making during his career at GIK. He also wrote the lessons for the directors' course there.[61] His classroom illustrations are reproduced in Vladimir Nizhniĭ's Lessons with Eisenstein. Exercises and examples for students were based on literature such as Honoré de Balzac's Le Père Goriot.[62] Another situation students had to produce was the staging of the Haitian struggle for independence as depicted in Anatolii Vinogradov's The Black Consul,[63]. Eisenstein also taught the specifics of directing, photography, and editing. He encouraged his students' development of individuality, expressiveness, and creativity.[64] Eisenstein's teaching, like his films, were politically charged and contained quotes from Vladimir Lenin.[65]

In his first films, Eisenstein did not use professional actors. His narratives did not focus on individual characters. Instead, they addressed broad social issues, especially class conflict. He used basic characters, and the roles were filled with untrained people from the matching classes. He avoided using stars.[66] Eisenstein's vision of communism brought him into conflict with officials in the ruling system of Joseph Stalin. Like many Bolshevik artists, Eisenstein pictured a new society which would pay for artists totally. This would free them from bosses and budgets. It would leave them free to create. But budgets and producers were as important to the Soviet film business as the rest of the world. The isolated, post-revolution, new nation did not have the resources to nationalize its film business at first. When it did, limited resources — both monetary and equipment — required production controls as big as in the capitalist world.

Filmography

  • 1923 Дневник Глумова (Glumov's Diary) (short)
  • 1924 Стачка (Strike)
  • 1925 Броненосец Потёмкин (The Battleship Potemkin)
  • 1927 Октябрь «Десять дней, которые потрясли мир» (October: Ten Days That Shook the World)
  • 1929 Старое и новое «Генеральная линия» (The General Line aka "Old And New")
  • 1930 : Romance sentimentale (France)
  • 1931 Да здравствует Мексика! (¡Qué viva México! released in 1979)
  • 1935 Бежин луг (Bezhin Meadow until 1937)
  • 1938 Александр Невский (Alexander Nevsky)
  • 1944 Иван Грозный 1-я серия (Ivan The Terrible, Part I)
  • 1945 Иван Грозный 2-я серия (Ivan The Terrible, Part II)
  • 1946 Иван Грозный 3-я серия (Ivan The Terrible, Part III)

List of writings

  • Selected articles in: Christie, Ian; Taylor, Richard, eds. (1994), [Expression error: Unexpected < operator The Film Factory: Russian and Soviet Cinema in Documents, 1896-1939], New York, New York: Routledge, ISBN 041505298X .
  • Eisenstein, Sergei (1949), [Expression error: Unexpected < operator Film Form: Essays in Film Theory], New York: Hartcourt . Trans. Jay Leyda.
  • Eisenstein, Sergei (1942) The Film Sense, New York: Hartcourt, Trans. Jay Leyda.
  • Eisenstein, Sergei (1972), [Expression error: Unexpected < operator Que Viva Mexico!], New York: Arno, ISBN 978-0405039164 .
  • Eisenstein, Sergei (1994) Towards a Theory of Montage, British Film Institute.
In Russian, and available online
  • Эйзенштейн, Сергей (1968), [Expression error: Unexpected < operator "Сергей Эйзенштейн" (избр. произв. в 6 тт)], Москва: Искусство , Избранные статьи.

Notes

  1. [1]
  2. Literaty Encyclopedia
  3. Эйзенштейн 1968 [2]
  4. Bordwell 1993, p. 1
  5. Seton 1952, p. 19
  6. Seton 1952, p. 20
  7. Seton 1952, p. 22
  8. Seton 1952, p. 28
  9. Seton 1952, pp. 34-35
  10. Seton 1952, p. 35
  11. Эйзенштейн 1968 [3]
  12. Seton 1952, p. 37
  13. Seton 1952, p. 41
  14. Seton 1952, p. 529
  15. Seton 1952, pp. 46-48
  16. Seton 1952, p. 61
  17. Christie & Taylor 1994, pp. 87-89
  18. Эйзенштейн 1968 [4]
  19. Goodwin 1993, p. 32
  20. Eisenstein 1972, p. 8
  21. Bordwell 1993, p. 16
  22. Geduld & Gottesman 1970, p. 12
  23. Montagu 1968, p. 151
  24. Seton 1952, p. 172
  25. Seton 1952, p. 174
  26. Montagu 1968, p. 209
  27. Seton 1952, p. 167
  28. Seton 1952, pp. 185-186
  29. Montagu 1968, pp. 89-97
  30. Seton 1952, p. 187
  31. Seton 1952, p. 188
  32. Seton 1952, p. 189
  33. 33.0 33.1 33.2 Geduld & Gottesman 1970, p. 22
  34. Geduld & Gottesman 1970, p. 23
  35. Bordwell 1993, p. 19
  36. Seton 1952, p. 513
  37. 37.0 37.1 Geduld & Gottesman 1970, p. 281
  38. Seton 1952, pp. 234-235
  39. Geduld & Gottesman 1970, pp. 309-310
  40. 40.0 40.1 Geduld & Gottesman 1970, p. 288
  41. Bordwell 1993, p. 21
  42. Seton 1952, p. 446
  43. Seton 1952, p. 280
  44. Leyda 1960, p. 299
  45. Bordwell 1993, p. 140
  46. Bordwell 1993, p. 33
  47. Aldrich & Wotherspoon 2002 pp. 170–1.
  48. Leyda 1960, p. 275
  49. Seton 1952, p. 369
  50. 50.0 50.1 Bordwell 1993, p. 27
  51. 51.0 51.1 Bordwell 1993, p. 28
  52. Leyda & Voynow 1982, p. 146
  53. Neuberger 2003, p. 22
  54. Leyda & Voynow 1982, p. 135
  55. Neuberger 2003, p. 23
  56. Eisenstein 1949, p. 72
  57. Eisenstein 1949, p. 73
  58. Eisenstein 1949, p. 75
  59. Eisenstein 1949, p. 78
  60. Eisenstein 1949, p. 82
  61. Nizhniĭ 1962, p. 93
  62. Nizhniĭ 1962, p. 3
  63. Nizhniĭ 1962, p. 21
  64. Nizhniĭ 1962, pp. 148-155
  65. Nizhniĭ 1962, p. 143
  66. Seton 1952, p. 185

References

  • Bergan, Ronald (1999), [Expression error: Unexpected < operator Sergei Eisenstein: A Life in Conflict], Boston, Massachusetts: Overlook Hardcover, ISBN 978-0879519247 
  • Bordwell, David (1993), [Expression error: Unexpected < operator The Cinema of Eisenstein], Cambridge, Massachusetts: Harvard University Press, ISBN 978-0674131385 
  • Geduld, Harry M.; Gottesman, Ronald, eds. (1970), [Expression error: Unexpected < operator Sergei Eisenstein and Upton Sinclair: The Making & Unmaking of Que Viva Mexico!], Bloomington, Indiana: Indiana University Press, ISBN 978-0253180506 
  • Goodwin, James (1993), [Expression error: Unexpected < operator Eisenstein, Cinema, and History], Urbana: University of Illinois Press, ISBN 0252062698 
  • Leyda, Jay (1960), [Expression error: Unexpected < operator Kino: A History Of The Russian And Soviet Film], New York: Macmillan, OCLC 1683826 
  • Leyda, Jay (1986), [Expression error: Unexpected < operator Eisenstein on Disney], London: Methuen, ISBN 0413196402 
  • Leyda, Jay; Voynow, Zina (1982), [Expression error: Unexpected < operator Eisenstein At Work], New York: Pantheon, ISBN 978-0394748122 
  • Montagu, Ivor (1968), [Expression error: Unexpected < operator With Eisenstein in Hollywood], Berlin: Seven Seas Books, OCLC 8713 
  • Neuberger, Joan (2003), [Expression error: Unexpected < operator Ivan the Terrible: The Film Companion], London; New York: I.B. Tauris, ISBN 1860645607 
  • Nizhniĭ, Vladimir (1962), [Expression error: Unexpected < operator Lessons with Eisenstein], New York: Hill and Wang, OCLC 6406521 
  • Seton, Marie (1952), [Expression error: Unexpected < operator Sergei M. Eisenstein: A Biography], New York: A.A. Wyn, OCLC 2935257 
  • Howes, Keith (2002), [Expression error: Unexpected < operator "Eisenstein, Sergei (Mikhailovich)"], in Aldrich, Robert; Wotherspoon, Garry, Who's Who in Gay and Lesbian History from Antiquity to World War II, Routledge; London, ISBN 0-415-15983-0 
  • Stern, Keith (2009), [Expression error: Unexpected < operator "Eisenstein, Sergei"], Queers in History, BenBella Books, Inc.; Dallas, Texas, ISBN 978-1933771-87-8 

Documentaries

  • The Secret Life of Sergei Eisenstein (1987) by Gian Carlo Bertelli

Other websites

Persondata
NAME Eisenstein, Sergei
ALTERNATIVE NAMES Eizenshtein, Sergei Mikhailovich
SHORT DESCRIPTION Film director
DATE OF BIRTH January 23, 1898
PLACE OF BIRTH Riga, Russian Empire
DATE OF DEATH February 11, 1948
PLACE OF DEATH Moscow, Soviet Union
rue:Серґей Михайлович Ейзенштейн







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