eisenstein in A Sentence

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    Eisenstein described it as a"trauma".

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    Sergei Eisenstein 's.

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    Convinced that it was Meyerhold's desire, Eisenstein left him.

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    Sustainability activist Charles Eisenstein refers to this as the“gift mentality.”.

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    Ray: Eisenstein aided a revolution that was already taking place.

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    Eisenstein's film“Battleship Potemkin” was shown in Germany for the first time.

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    In this period of intense work, Eisenstein simultaneously begins his gigantic theoretical activity.

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    That is not what Eisenstein thinks, but let me address this criticism head-on;

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    Eisenstein explained to him that the passage in question was still to be retouched.

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    The Soviets had an Eisenstein, who wrote film theory like we brush our teeth;

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    Charles Eisenstein explores the history and potential future of civilization, tracing the converging crises of our age to the illusion of the separate self.

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    Eisenstein graduated from Yale University in 1989 with a degree in mathematics and philosophy, and spent the next ten years as a Chinese-English translator.

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    Eisenstein is dazed by the empty asceticism of graphics, the clarity of the drawing, the torturous cruelty of the line bloodily ripped away from the multicolored body of nature.

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    Cineaste: What about filmmakers such as Leni Riefenstahl, who presented the Nazi version of the Aryan myth, or Sergei Eisenstein, who used film as a tool of the revolution?

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    But, for example, in the General Staff there will first be an Eisenstein exhibition, devoted to the creator of the myth that was invented first by the French and then by the Bolsheviks.

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    Swimme recognizes the dire predicament of our planet in the present moment and echoing Eisenstein, asserts that“All of the structures that are destroying the earth are releasing us into the essential nature of who we are.”.

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    No doubt some of you are thinking,“Eisenstein seems to think that if everyone just focuses on taking care of their grandmother and picking up litter in the park, that global warming, imperialism, racism, and the rest of the catastrophic problems facing our planet will magically fix themselves.

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    Although Soviet filmmakers in the 1920s disagreed about how exactly to view montage, Sergei Eisenstein marked a note of accord in"A Dialectic Approach to Film Form" when he noted that montage is"the nerve of cinema", and that"to determine the nature of montage is to solve the specific problem of cinema.

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    While several Soviet filmmakers, such as Lev Kuleshov, Dziga Vertov, Esfir Shub and Vsevolod Pudovkin put forth explanations of what constitutes the montage effect, Eisenstein's view that"montage is an idea that arises from the collision of independent shots" wherein"each sequential element is perceived not next to the other, but on top of the other" has become most widely accepted.

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