This brought his father to Germany after the defeat of the anti-Bolshevik forces, and Sergei to Petrograd, Vologda, and Dvinsk. In 1918, he left school and joined the Red Army to participate in the Russian Civil War, although his father Mikhail supported the opposite side. Education Īt the Petrograd Institute of Civil Engineering, Eisenstein studied architecture and engineering, the profession of his father. Among the films that influenced Eisenstein as a child was The Consequences of Feminism by the first female filmmaker Alice Guy-Blaché. Eisenstein was raised as an Orthodox Christian, but became an atheist later in life. Divorce followed and Julia left the family to live in France. Her son would return at times to see his father, who joined them around 1910. Julia left Riga the same year as the 1905 Russian Revolution, taking Sergei with her to St. She was the daughter of a prosperous merchant. His father had converted to the Russian Orthodox Church while his mother, Julia Ivanovna Konetskaya, was from a Russian Orthodox family. His father, the architect Mikhail Osipovich Eisenstein, was born in the Kiev Governorate, to a Jewish merchant father, Osip, and a Swedish mother. His family moved frequently in his early years, as Eisenstein continued to do throughout his life. Sergei Eisenstein was born on 22 January 1898 in Riga, in the Governorate of Livonia, Russian Empire (now Latvia), to a middle-class family. Early life The young Sergei with his parents Mikhail and Julia Eisenstein Įisenstein cited American film director D. In its 2012 decennial poll, the magazine Sight & Sound named his Battleship Potemkin the 11th-greatest film of all time. He is noted in particular for his silent films Strike (1925), Battleship Potemkin (1925) and October (1928), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1944, 1958). He was a pioneer in the theory and practice of montage. Collectively, the directors utilizing montage theory were able to explore how time and space can be presented on film, exploring how audiences may respond to various montage techniques.Īlthough montage is generally used in less radical ways in modern cinema, Kulshov’s theory has undeniably become a common tool for filmmakers worldwide, and films such as Battleship Potemkin and The Man With a Movie Camera are still celebrated as some of the most groundbreaking films of all time.Sergei Mikhailovich Eisenstein ( Russian: Сергей Михайлович Эйзенштейн, romanized: Sergey Mikhaylovich Eyzenshteyn, IPA: 22 January 1898 – 11 February 1948) was a Soviet film director, screenwriter, film editor and film theorist. He inspired filmmakers such as Sergei Eisenstein ( Battleship Potemkin), who was formerly a student of Kulshov, and Dsiga Werov ( The Man With a Movie Camera). Kulshov’s theory asked questions as to how editing and composition influences a viewer’s interpretation of a sequence. In this way, Kulshov was applying tools more commonly associated with literature and language, forming sequences as you would a sentence rather than composing a scene as if it were a live theatrical production. To prove his point, the filmmaker cut together various images, each of which changed the audience's reading: The same facial expression, applied to different situations, will be interpreted entirely differently by the audience depending on its collective context. The audience are able to view two separate images and subconsciously give them a collective context. This would become known as the Kuleshov Effect. Director Lev Kulshov first conceptualised montage theory on the basis that one frame may not be enough to convey an idea or an emotion. Just like French Impressionist cinema, Soviet Montage came from the concept that film theory doesn't necessary have to align with theatrical frameworks, as the filmmaking process provides an entirely new set of tools.
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