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Home , Bezhin Meadow, Eduard Tisse, Grigori Aleksandrov, Jay Leyda, Romance sentimentale, Sergei Eisenstein

Sergei Mikhailovich Eisenstein (/ˈaɪzənˌstaɪn/;[1] a mother of Swedish descent,[2][3] and his mother, Ju- Russian: Сергей Михайлович Эйзенштейн; IPA: lia Ivanovna Konetskaya, was from a Russian Orthodox [sʲɪrˈɡʲej mʲɪˈxajləvʲɪtɕ ɪjzʲɪnˈʂtʲejn]; 22 January 1898 – family.[4] His father was an architect and his mother was 11 February 1948) was a Soviet Russian film director the daughter of a prosperous merchant.[5] Julia left and film theorist, a pioneer in the theory and practice of the same year as the of 1905, bring- montage. He is noted in particular for his silent films ing Sergei with her to St. Petersburg.[6] Her son would Strike (1925), (1925) and October return at times to see his father, who joined them around (1928), as well as the historical epics 1910.[7] Divorce followed and Julia left the family to live (1938) and (1944, 1958). in France.[8] Eisenstein was raised as an Orthodox Chris- tian, but became an atheist later on.[9][10] At the Petrograd Institute of Civil Engineering, Sergei 1 Life and career studied architecture and engineering, the profession of his father.[11] In 1918 Sergei left school and joined the 1.1 Early years to serve the Bolshevik Revolution, although his father Mikhail supported the opposite side.[12] This brought his father to Germany after the defeat of the Tsarist government, and Sergei to Petrograd, , and Dvinsk.[13] In 1920, Sergei was transferred to a command position in , after success providing for the . At this time, he was exposed to Kabuki theatre and studied Japanese, learning some 300 kanji characters, which he cited as an influence on his pictorial development.[14][15] These stud- ies would lead him to travel to Japan.

1.2 From theatre to cinema

Young Sergei with his parents Mikhail and Julia Eisenstein. With Japanese kabuki Sadanji Ichikawa II, , 1928 Eisenstein was born to a middle-class family in Riga, (then part of the in the In 1920 Eisenstein moved to Moscow, and began his ) but his family moved frequently career in theatre working for .[16] His produc- in his early years, as Eisenstein continued to do through- tions there were entitled Gas Masks, Listen Moscow, and out his life. His father, Mikhail Osipovich Eisenstein Wiseman.[17] Eisenstein would then work as a designer was born to a German Jewish father, Osip Eisenstein and for .[18] In 1923 Eisenstein began his

1 2 1 LIFE AND CAREER

career as a theorist,[19] by writing The Montage of At- disliked it completely and, additionally, found them- tractions for LEF.[20] Eisenstein’s first film, Glumov’s Di- selves intimidated by Major Frank Pease,[30] president ary (for the theatre production Wiseman), was also made of the Hollywood Technical Director’s Institute. Pease, in that same year with hired initially as an an anti-communist, mounted a public campaign against “instructor.”[21][22] Eisenstein. On October 23, 1930, by “mutual consent,” Strike (1925) was Eisenstein’s first full-length feature film. Paramount and Eisenstein declared their contract null and void, and the Eisenstein party were treated to return tick- The Battleship Potemkin (1925) was acclaimed critically [31] worldwide. It was mostly his international critical renown ets to Moscow at Paramount’s expense. which enabled Eisenstein to direct October (aka Ten Days Eisenstein was thus faced with returning home a failure. That Shook The World) as part of a grand tenth anniver- The Soviet film industry was solving the sound-film is- sary celebration of the October Revolution of 1917, and sue without him and his films, techniques, and theories then (aka Old and New). The critics were becoming increasingly attacked as 'ideological fail- of the outside world praised them, but at home, Eisen- ures’ and prime examples of formalism. Many of his the- stein’s focus in these films on structural issues such as oretical articles from this period, such as Eisenstein on camera angles, crowd movements, and montage brought Disney, have surfaced decades later as seminal scholarly him and like-minded others, such as texts used as curriculum in film schools around the world. and , under fire from the Soviet Eisenstein and his entourage spent considerable time with film community, forcing him to issue public articles of ,[32] who recommended that Eisenstein self-criticism and commitments to reform his cinematic meet with a sympathetic benefactor in the person of visions to conform to the increasingly specific doctrines American socialist author .[33] Sinclair’s of . works had been accepted by and were widely read in the USSR, and were known to Eisenstein. The two had mu- 1.3 Travels to Europe tual admiration and between the end of October 1930 and Thanksgiving of that year, Sinclair had secured an exten- sion of Eisenstein’s absences from the USSR, and permis- In the autumn of 1928, with October still under fire in sion for him to travel to Mexico. The trip to Mexico was many Soviet quarters, Eisenstein left the for Eisenstein to make a film produced by Sinclair and his for a tour of Europe, accompanied by his perennial film wife, Mary Craig Kimbrough Sinclair, and three other in- collaborator and vestors organized as the “Mexican Trust”.[34] . Officially, the trip was supposed to allow Eisenstein and company to learn about sound motion pic- tures and to present the famous Soviet artists in person to the capitalist West. For Eisenstein, however, it was 1.5 Mexican odyssey also an opportunity to see landscapes and cultures outside those found within the Soviet Union. He spent the next On November 24, 1930, Eisenstein signed a contract two years touring and lecturing in , Zurich, Lon- with the Trust “upon the basis of his desire to be free don, and .[23] In 1929, in Switzerland, Eisenstein su- to direct the making of a picture according to his own pervised an educational documentary about abortion di- ideas of what a Mexican picture should be, and in full rected by Tissé entitled Frauennot - Frauenglück.[24] faith in Eisenstein’s artistic integrity.”[35] The contract also stipulated that the film would be “non-political,” that immediately available funding came from Mary Sinclair 1.4 American projects in an amount of “not less than Twenty-Five Thousand Dollars,”[36] that the shooting schedule amounted to “a In late April 1930, Jesse L. Lasky, on behalf of period of from three to four months,”[36] and most im- , offered Eisenstein the opportu- portantly that “Eisenstein furthermore agrees that all pic- nity to make a film in the United States.[25] He ac- tures made or directed by him in Mexico, all negative cepted a short-term contract for $100,000 and arrived in film and positive prints, and all story and ideas embod- Hollywood in May 1930. ied in said Mexican picture, will be the property of Mrs. [36] Eisenstein proposed a biography of munitions tycoon Sir Sinclair...” A codicil to the contract allowed that the “Soviet Government may have the [finished] film free for Basil Zaharoff and a film version of Arms and the Man by [37] , and more fully developed plans showing inside the U.S.S.R.” Reportedly, it was ver- for a film of Sutter’s Gold by Jack ,[26] but on bally clarified that the expectation was for a finished film all accounts failed to impress the studio’s producers.[27] of about an hour’s duration. Paramount then proposed a movie version of Theodore By 4 December, Eisenstein was en route to Mexico by Dreiser's An American Tragedy.[28] This excited Eisen- train, accompanied by Aleksandrov and Tisse. Later he stein, who had read and liked the work, and had met produced a brief synopsis of the six-part film which would Dreiser at one time in Moscow. Eisenstein completed a come, in one form or another, to be the final plan Eisen- script by the start of October 1930,[29] but Paramount stein would settle on for his project. The title for the 1.6 Return to Soviet Union 3

project, ¡Que viva México!, was decided on some time 1.6 Return to Soviet Union later still. While in Mexico Eisenstein mixed socially with and . Eisenstein admired these artists and Mexican culture in general, and they in- spired Eisenstein to call his films “moving frescoes”.[38] The Left U.S. film community eagerly followed Eisen- stein’s progress within Mexico as is chronicled within Chris Robe’s book Left of Hollywood: Cinema, Mod- ernism, and the Emergence of U.S. Radical Film Cut- lure.[39] After a prolonged absence, Stalin sent a telegram ex- pressing the concern that Eisenstein had become a deserter.[40] 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.[41] Eisenstein hoped to pressure the Sinclairs to insinuate themselves between him and Stalin, so Eisen- stein could finish the film in his own way. The furi- ous Sinclairs shut down production and ordered Kim- brough to return to the United States with the remain- ing 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,[42] to an excess of 250,000 lineal feet.[43] For the unfinished filming of the “novel” of Soldadera, without incurring any cost, Eisenstein had secured 500 Eisenstein c. 1935 soldiers, 10,000 guns, and 50 cannons from the Mex- ican Army,[41] but this was lost due to Sinclair’s can- Eisenstein’s foray onto the west made the staunchly Stal- celling of production. When Eisenstein arrived at the inist film industry look upon him with a suspicion that American border, a customs search of his trunk revealed would never completely disappear. He apparently spent sketches and drawings of caricatures amongst other some time in a mental hospital in Kislovodsk in July lewd pornographic material.[44][45] His re-entry visa had 1933,[49] ostensibly a result of depression born of his fi- expired,[46] and Sinclair’s contacts in Washington were nal acceptance that he would never be allowed to edit the unable to secure him an additional extension. Eisenstein, Mexican footage, turned over by Sinclair to Hollywood Aleksandrov, and Tisse were allowed, after a month’s stay editors, who would irreparably alter the negatives.[50] at the U.S.-Mexico border outside Laredo, Texas, a 30- day “pass” to get from Texas to New York,[46] and thence He was subsequently assigned a teaching position with depart for Moscow, while Kimbrough returned to Los the film school GIK (now Gerasimov Institute of Cin- Angeles with the remaining film. ematography) where he had taught earlier and in 1933 and 1934 was in charge of writing curriculum.[51] Eisen- Eisenstein toured the American South, on his way to New stein married filmmaker and writer Vera Atasheva (1900– York. In mid-1932, the Sinclairs were able to secure the 65) in 1934 [52] and remained married until his death services of , who had just opened his distribu- in 1948, though there is some speculation about his tion office in New York, Principal Distributing Corpo- sexuality.[53][54] ration. Lesser agreed to supervise post-production work on the miles of negative — at the Sinclairs’ expense — In 1935, he began another project, , but and distribute any resulting product. Two short feature it appears the film was afflicted with many of the same films and a short subject — Thunder Over Mexico based problems as Que Viva Mexico. Eisenstein unilaterally de- on the “Maguey” footage,[47] Eisenstein in Mexico, and cided to film two versions of the scenario, one for adult Death Day respectively — were completed and released viewers and one for children; failed to define a clear in the United States between the autumn of 1933 and shooting schedule; and shot film prodigiously, resulting early 1934. Eisenstein never saw any of the Sinclair- in cost overruns and missed deadlines. Even though So- Lesser films, nor a later effort by his first biographer, viet film executive encouraged Sinclair , called Time in the Sun.[48] He would pub- in undermining Eisenstein[50] it was derailed not as much licly maintain that he had lost all interest in the project. as Bezhin Meadow by the Soviet film industry, but by its American backers.[55] The thing which appeared to save Eisenstein’s career at this point was that Stalin ended up taking the position 4 2 FILM THEORIST

that the Bezhin Meadow catastrophe, along with several and most of it was destroyed[62] (though several filmed other problems facing the industry at that point, had less scenes still exist today). to do with Eisenstein’s approach to filmmaking as with the Eisenstein’s health was also failing: he was struck by a executives who were supposed to have been supervising heart attack during the making of this picture, and soon him. Ultimately this came down on the shoulders of Boris [63] [56] died of another at the age of 50. He was found on Shumyatsky, “executive producer” of Soviet film since the floor of his Moscow flat on the morning of Febru- 1932, who in early 1938 was denounced, arrested, tried ary 11, 1948. The body lay in state in the Hall of the and convicted as a traitor, and shot. (The production ex- Cinema Workers, beneath a gold-embroidered velvet pall ecutive at Film studio Mosfilm, where Meadow was being and surrounded by a profusion of flowers, before being made, was also replaced, but without further executions.) cremated on February 13. The ashes were buried in the snow-covered ground of the in [64] 1.7 Comeback Moscow.

Eisenstein was thence able to ingratiate himself with Stalin for 'one more chance', and he chose, from two of- 2 Film theorist ferings, the assignment of a biopic of Alexander Nevsky, with music composed by Sergei Prokofiev. This time, he Eisenstein was a pioneer in the use of montage, a spe- was assigned a co-scenarist, Pyotr Pavlenko,[57] to bring cific use of film editing. He and his contemporary, Lev in a completed script; professional to play the roles; Kuleshov, two of the earliest film theorists, argued that and an assistant director, Dmitri Vasilyev, to expedite montage was the essence of the cinema. His articles and shooting.[57] books — particularly Film Form and The Film Sense — The result was a film critically received by both the Sovi- explain the significance of montage in detail. ets and in the West, which won him the His writings and films have continued to have a major im- and the Stalin Prize.[58] It was an obvious allegory and pact on subsequent filmmakers. Eisenstein believed that stern warning against the massing forces of Nazi Ger- editing could be used for more than just expounding a many, well played and well made. The script had Nevsky scene or moment, through a “linkage” of related images. utter a number of traditional Russian proverbs, verbally Eisenstein felt the “collision” of shots could be used to rooting his fight against the Germanic invaders in Russian manipulate the emotions of the audience and create film traditions.[59] This was started, completed, and placed in metaphors. He believed that an idea should be derived distribution all within the year 1938, and represented not from the juxtaposition of two independent shots, bring- only Eisenstein’s first film in nearly a decade but also his ing an element of collage into film. He developed what first sound film. he called “methods of montage": Within months of its release, Stalin entered into a pact [65] with Hitler, and Nevsky was promptly pulled from distri- 1. Metric bution. Eisenstein returned to teaching and was assigned 2. Rhythmic[66] to direct 's Die Walküre at the .[58] After the outbreak of war with Germany in 3. Tonal[67] 1941, Nevsky was re-released into wide distribution and [68] earned international success. With the war approaching 4. Overtonal Moscow, Eisenstein was one of many filmmakers evac- 5. Intellectual[69] uated to Alma-Ata, where he first considered the idea of making a film about Czar Ivan IV. Eisenstein corre- Eisenstein taught film-making during his career at GIK sponded with Prokofiev from Alma Ata, and was joined where he wrote the curricula for the directors’ course;[70] by him there in 1942. Prokofiev composed the score for his classroom illustrations are reproduced in Vladimir Eisenstein’s film and Eisenstein reciprocated by design- Nizhniĭ's Lessons with Eisenstein. Exercises and exam- ing sets for an operatic rendition of that ples for students were based on rendering literature such Prokofiev was developing.[60] as Honoré de Balzac's Le Père Goriot.[71] Another hypo- thetical was the staging of the Haitian struggle for inde- 1.8 Ivan trilogy pendence as depicted in Anatolii Vinogradov’s The Black Consul,[72] influenced as well by John Vandercook’s Black [73] Eisenstein’s film, Ivan The Terrible, Part I, presenting Majesty. Ivan IV of as a national hero, won 's Lessons from this scenario delved into the character of approval (and a Stalin Prize),[61] but the sequel, Ivan The Jean-Jacques Dessalines, replaying his movements, ac- Terrible, Part II was criticized by various authorities and tions, and the drama surrounding him. Further to the di- would go unreleased until 1958. All footage from the still dactics of literary and dramatic content, Eisenstein taught incomplete Ivan The Terrible, Part III was confiscated, the technicalities of directing, photography, and editing, 5 while encouraging his students’ development of individu- • Eisenstein, Sergei (1949), Film Form: Essays in Film ality, expressiveness, and creativity.[74] Eisenstein’s ped- Theory, New York: Hartcourt; translated by Jay agogy, like his films, were politically charged and con- Leyda. tained quotes from interwoven with his • teaching.[75] Eisenstein, Sergei (1942) The Film Sense, New York: Hartcourt; translated by . In his initial films, Eisenstein did not use professional actors. His narratives eschewed individual charac- • Eisenstein, Sergei (1972), Que Viva Mexico!, New ters and addressed broad social issues, especially class York: Arno, ISBN 978-0-405-03916-4. conflict. He used stock characters, and the roles • Eisenstein, Sergei (1994) Towards a Theory of Mon- were filled with untrained people from the appropriate tage, British Film Institute. classes; he avoided casting stars.[76] Eisenstein’s vision of brought him into conflict with officials in In Russian, and available online the ruling regime of Joseph Stalin. Like many Bolshevik artists, Eisenstein envisioned a new society which would • Эйзенштейн, Сергей (1968), "Сергей subsidize artists totally,[77] freeing them from the con- Эйзенштейн" (избр. произв. в 6 тт), Москва: fines of bosses and budgets, leaving them absolutely free Искусство, Избранные статьи. to create, but budgets and producers were as significant to the Soviet film industry as the rest of the world. Due to the fledgling war, the revolution-wracked and isolated new nation didn't have the resources to nationalize its film 5 Honours and awards industry at first. When it did, limited resources — both monetary and equipment — required production controls This article incorporates information from the as extensive as in the capitalist world.[78] equivalent article on the Russian Wikipedia.

• Two Stalin Prizes – 1941 for the film Alexander 3 Filmography Nevsky (1938), 1946 for the 1st series of the film "Ivan the Terrible" (1944) • 1923 Дневник Глумова (Glumov’s Diary)(short) • Honored Artist of the RSFSR (1935) • 1925 Стачка (Strike) • Order of Lenin (1939) – for the film “Alexander • 1925 Броненосец Потемкин (The Battleship Nevsky” (1938) Potemkin) • Order of the Badge of Honour • 1927 Октябрь «Десять дней, которые потрясли мир» (October: Ten Days That Shook the World) 6 Notes • 1929 Старое и новое «Генеральная линия» (The General Line aka “Old And New”) [1] “Eisenstein”. Random House Webster’s Unabridged Dic- • 1930 (France) tionary. • 1932 Да здравствует Мексика! (¡Que viva México! [2] “Almost nothing is known of his paternal grandparents, released in 1979) though the wife of his cousin once remarked that her hus- band mentioned that the grandmother was thought to be • 1937 Бежин луг (Bezhin Meadow) Swedish.” in Ronald Bergan, Sergei Eisenstein – . • 1938 Александр Невский (Alexander Nevsky) [3] Literaty Encyclopedia • 1944 Иван Грозный 1-я серия (Ivan The Terrible, Part I) [4] Эйзенштейн 1968 • 1945 Иван Грозный 2-я серия (Ivan The Terrible, [5] Bordwell 1993, p. 1 Part II) [6] Seton 1952, p. 19

[7] Seton 1952, p. 20 4 List of writings [8] Seton 1952, p. 22 [9] Al LaValley (2001). Eisenstein at 100. Rutgers Univer- • Selected articles in: Christie, Ian; Taylor, Richard, sity Press. p. 70. ISBN 9780813529714. As a commit- eds. (1994), The Film Factory: Russian and Soviet ted Marxist, Eisenstein outwardly turned his back on his Cinema in Documents, 1896–1939, New York, New Orthodox upbringing, and took pains in his memoirs to York: Routledge, ISBN 0-415-05298-X. stress his atheism. 6 6 NOTES

[10] Sergei Eisenstein (1996). Richard Taylor, ed. Beyond the [45] Geduld & Gottesman 1970, pp. 309–310 stars: the memoirs of Sergei Eisenstein, Volume 5. BFI Publishing. p. 414. ISBN 9780851704609. My atheism [46] Geduld & Gottesman 1970, p. 288 is like that of -- inseparable from adora- [47] Bordwell 1993, p. 21 tion of the visible forms of a cult. [48] Seton 1952, p. 446 [11] Seton 1952, p. 28 [49] Seton 1952, p. 280 [12] Seton 1952, pp. 34–35 [50] Leyda 1960, p. 299 [13] Seton 1952, p. 35 [51] Bordwell 1993, p. 140 [14] Эйзенштейн 1968 [52] Bordwell 1993, p. 33 [15] Seton 1952, p. 37 [53] Aldrich & Wotherspoon 2002 pp. 170–71. [16] Seton 1952, p. 41 [54] “Putin’s pride? Six famous gay sons of Russia”. Channel [17] Seton 1952, p. 529 4. 8 February 2014. Retrieved 8 January 2015.

[18] Seton 1952, pp. 46–48 [55] Leyda 1960, p. 275

[19] Seton 1952, p. 61 [56] Seton 1952, p. 369

[20] Christie & Taylor 1994, pp. 87–89 [57] Bordwell 1993, p. 27

[21] Эйзенштейн 1968 [58] Bordwell 1993, p. 28

[22] Goodwin 1993, p. 32 [59] Kevin McKenna. 2009. “Proverbs and the Folk Tale in the Russian Cinema: The Case of Sergei Eisenstein’s Film [23] Eisenstein 1972, p. 8 Classic Aleksandr Nevsky.” The Proverbial «Pied Piper» A [24] Bordwell 1993, p. 16 Festschrift Volume of Essays in Honor of Wolfgang Mieder on the Occasion of His Sixty-Fifth Birthday, ed. by Kevin [25] Geduld & Gottesman 1970, p. 12 McKenna, pp. 277–92. New York, Bern: Peter Lang.

[26] Montagu 1968, p. 151 [60] Leyda & Voynow 1982, p. 146

[27] Seton 1952, p. 172 [61] Neuberger 2003, p. 22

[28] Seton 1952, p. 174 [62] Leyda & Voynow 1982, p. 135

[29] Montagu 1968, p. 209 [63] Neuberger 2003, p. 23

[30] Seton 1952, p. 167 [64] Cavendish, Richard. “The Death of Sergei Eisenstein”. Retrieved 24 March 2014. [31] Seton 1952, pp. 185–186 [65] Eisenstein 1949, p. 72 [32] Montagu 1968, pp. 89–97 [66] Eisenstein 1949, p. 73 [33] Seton 1952, p. 187 [67] Eisenstein 1949, p. 75 [34] Seton 1952, p. 188 [68] Eisenstein 1949, p. 78 [35] Seton 1952, p. 189 [69] Eisenstein 1949, p. 82 [36] Geduld & Gottesman 1970, p. 22 [70] Nizhniĭ 1962, p. 93 [37] Geduld & Gottesman 1970, p. 23 [71] Nizhniĭ 1962, p. 3 [38] Bordwell 1993, p. 19 [72] Nizhniĭ 1962, p. 21 [39] Left of Hollywood: Cinema, , and the Emer- gence of U.S. Radical Film Culture [73] Leyda & Voynow 1982, p. 74

[40] Seton 1952, p. 513 [74] Nizhniĭ 1962, pp. 148–155

[41] Geduld & Gottesman 1970, p. 281 [75] Nizhniĭ 1962, p. 143

[42] Eisenstein 1972, p. 14 [76] Seton 1952, p. 185

[43] Geduld & Gottesman 1970, p. 132 [77] “Eisenstein”. New Word Encyclopedia.

[44] Seton 1952, pp. 234–235 [78] “Eisenstein’s resources”. New Word Encyclopedia. 7

7 References 9 Filmed biographies

• Bergan, Ronald (1999), Sergei Eisenstein: A Life in • Eisenstein (film) (2000) by Renny Bartlett, “a series Conflict, Boston, Massachusetts: Overlook Hard- of loosely connected (and unevenly acted) theatri- cover, ISBN 978-0-87951-924-7 cal sketches whose central theme is the director’s shifting relationship with the Soviet government” fo- • Bordwell, David (1993), The Cinema of Eisen- cusing on “Eisenstein the political animal, gay man, stein, Cambridge, Massachusetts: Harvard Univer- Jewish target and artistic rebel”. sity Press, ISBN 978-0-674-13138-5 • Geduld, Harry M.; Gottesman, Ronald, eds. (1970), Sergei Eisenstein and Upton Sinclair: The Making & 10 Further reading Unmaking of Que Viva Mexico!, Bloomington, In- diana: Indiana University Press, ISBN 978-0-253- 10.1 Archival sources 18050-6 • Goodwin, James (1993), Eisenstein, Cinema, and • Sergei Mikhailovich Eisenstein Collection is housed History, Urbana: University of Illinois Press, ISBN at the Museum of Museum Archives. 0-252-06269-8 • Sergei Eisenstein Scrapbook of photographs and • Leyda, Jay (1960), Kino: A History of the Russian manuscripts, [ca. 1900]−1930 (2 volumes) is house And Soviet Film, New York: Macmillan, OCLC at the Museum Archives. 1683826 • Sergei Eisenstein Correspondence with Theodore • Leyda, Jay (1986), Eisenstein on Disney, London: Dreiser, 1931-1941 (9 letters) is housed at the Rare Methuen, ISBN 0-413-19640-2 Book and Manuscript Library at the University of Pennsylvania. • Leyda, Jay; Voynow, Zina (1982), Eisenstein At Work, New York: Pantheon, ISBN 978-0-394- 74812-2 11 External links • Montagu, Ivor (1968), With Eisenstein in Hollywood, Berlin: Seven Seas Books, OCLC 8713 • Sergei Eisenstein at the Internet Movie Database • Neuberger, Joan (2003), Ivan the Terrible: The Film • Discussion with Stalin regarding Ivan the Terrible Companion, London; New York: I.B. Tauris, ISBN 1-86064-560-7 • Eisenstein on Google video • Nizhniĭ, Vladimir (1962), Lessons with Eisenstein, • Sergei Eisenstein Is Dead In Moscow; New York New York: Hill and Wang, OCLC 6406521 Times

• Seton, Marie (1952), Sergei M. Eisenstein: A Biog- • Sergei Eisenstein at Find a Grave raphy, New York: A.A. Wyn, OCLC 2935257 • “Glumov’s Diary” - 1923 - Sergei Eisenstein’s first • Howes, Keith (2002), “Eisenstein, Sergei film on YouTube (Mikhailovich)", in Aldrich, Robert; Wother- spoon, Garry, Who’s Who in Gay and Lesbian • Sergei Eisenstein and the Haitian Revolution by History from Antiquity to World War II, Routledge; Charles Forsdick and Christian Hogsbjerg, History London, ISBN 0-415-15983-0 Workshop Journal, 78 (2014). • Stern, Keith (2009), “Eisenstein, Sergei”, Queers in History, BenBella Books, Inc.; Dallas, Texas, ISBN 978-1-933771-87-8

• Antonio Somaini, Ejzenstejn. Il cinema, le arti, il montaggio (Eisenstein. Cinema, the Arts, Montage), Einaudi, Torino 2011

8 Documentaries

• The Secret Life of Sergei Eisenstein (1987) by Gian Carlo Bertelli 8 12 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

12 Text and image sources, contributors, and licenses

12.1 Text

• Sergei Eisenstein Source: http://en.wikipedia.org/wiki/Sergei%20Eisenstein?oldid=650241647 Contributors: Koyaanis Qatsi, Ben-Zin, Modemac, Fransvannes, Jahsonic, Skysmith, Eric119, Kingturtle, Uri, Sethmahoney, Ineuw, Raven in Orbit, Frieda, Jihg, Dysprosia, SatyrTN, Tpbradbury, Raul654, Hajor, Altenmann, Romanm, Mayooranathan, Steeev, Timrollpickering, Hoot, Eliashedberg, Mandel, As- paragus, Xyzzyva, Jyril, Folks at 137, Everyking, Chips Critic, Ezhiki, Gugilymugily, Formeruser-81, Blankfaze, Antandrus, The Singing Badger, Phe, Satori, Yossarian, Beardless, D6, Rich Farmbrough, Max Terry, User2004, Hhielscher, Bender235, Aecis, El C, Joanjoc, Prsephone1674, Cmdrjameson, Pearle, Jumbuck, Gargaj, Philip Cross, Paradiso, YDZ, Eukesh, Phyllis1753, John Talbut, Ghirlandajo, Bookandcoffee, Adrian.benko, Bacteria, Richard Arthur Norton (1958- ), Woohookitty, Camw, Isnow, Sin-man, Kbdank71, Dvyost, Philli- pedison1891, Lockley, Feydey, Afterwriting, Olessi, MarnetteD, Ground Zero, Kmorozov, Mark83, Fisenko, Chobot, Roboto de Ajvol, YurikBot, RobotE, RussBot, Stephenb, Gaius Cornelius, Alex Bakharev, NawlinWiki, Aeusoes1, Irishguy, Mtcedar, Bota47, Avraham, Fallout boy, Homagetocatalonia, Gorilla Jones, [email protected], Reyk, Jogers, Petri Krohn, T. Anthony, Pred, Curpsbot-unicodify, Nixer, Kubra, Guinness man, KJBracey, Jonathan.s.kt, Jeremy Butler, GrinBot, DVD R W, Caponer, SmackBot, Prodego, Symphony Girl, Colossus34, Timotheus Canens, Alsandro, Commander Keane bot, Gilliam, Ohnoitsjamie, Thumperward, MalafayaBot, Colonies Chris, OrphanBot, Threeafterthree, Mr Beale, NoIdeaNick, Bigturtle, Pretzelworld, Shamir1, Andrei Stroe, Clicketyclack, Will Beback, Tener- iff, Beckerb, NJA, EPO, Dekaels, R, Ewulp, Danproduct, FrenchieAlexandre, JForget, Jonnyunpleasant, Ipaat, Lmcelhiney, MarsRover, CommanderJamesBond, Skybon, Jds10, Cydebot, Meno25, Bellerophon5685, Lugnuts, Pascal.Tesson, Tkynerd, DumbBOT, Knight45, Rbanzai, Kingstowngalway, Thijs!bot, Biruitorul, Iulius, Dr. Blofeld, Tjmayerinsf, Couleurs2004, WillyK999, JAnDbot, Matthew Fennell, TallulahBelle, Magioladitis, Bongwarrior, Kaneshirojj, Newton-noze, Grunge6910, Jahangard, Dblanchar, Paracel63, CommonsDelinker, Beit Or, Maurice Carbonaro, WFinch, Scott Free, SimulacrumDP, Mehmeda, Garret Beaumain, TheTyrant, Ontarioboy, Sparafucil, Cit- izencor, Mrbaker1917, Evgeniia, Idioma-bot, Stevenmg, Hugo999, VolkovBot, Bovineboy2008, TXiKiBoT, Wassermann, WikiCantona, Ethicoaestheticist, Monty845, Seraphita, AlleborgoBot, Cosprings, SieBot, Benedetto xvi, Callelinea, Legion fi, Jbmurray, Viskonsas, Triwbe, Bibikoff, Aspects, Lightmouse, Harry the Dirty Dog, OKBot, SamuelM555, Miyokan, Henry Merrivale, ImageRemovalBot, Clue- Bot, Binksternet, All Hallow’s Wraith, DionysosProteus, The White Duke, Lawrence Cohen, Parkjunwung, Pete unseth, Cinemonbun, Estevoaei, Chris Elsay, Cirt, SamuelTheGhost, Luke4545, DragonBot, Wejdas, Jotterbot, Anoopan, Yosefverbin, Pirags, Liberal Human- ist, DumZiBoT, XLinkBot, Vigong, SilvonenBot, Good Olfactory, Kbdankbot, HexaChord, Deafussy, Addbot, Tchristina23, NjardarBot, BepBot, AnnaFrance, Ahelphand, JGKlein, Squandermania, Numbo3-bot, Zorrobot, Greyhood, Legobot, Luckas-bot, Yobot, Ptbotgourou, Senses08, Magog the Ogre, AnomieBOT, JackieBot, Dr. Bobbie Fox, Materialscientist, The High Fin Sperm Whale, , Geregen2, ArthurBot, Al.Neuland, Xqbot, DSisyphBot, Eengstrom, Frosted14, Omnipaedista, RibotBOT, Auréola, D'ohBot, Leptosome, Citation bot 1, Imoretti, Tomcat7, FoxBot, TobeBot, Vera.tetrix, Satdeep Gill, Noommos, EmausBot, Dylanmagruder, Jamesrelich, SporkBot, Florprof, Helpful Pixie Bot, Lowercase ,ساجد امجد ساجد ,Lji1942, Babək Akifoğlu, JeanneMish, The Celestial City, ClueBot NG, Chester Markel sigmabot, ERJANIK, Loeba, Ame-Stram-Gram, BattyBot, Justincheng12345-bot, Ninmacer20, Isarra (HG), VIAFbot, Pincrete, Lekoren, Peleio Aquiles, Pavel morozov3, Beautyon, Trabant terror and Anonymous: 190

12.2 Images

• File:Ambox_important.svg Source: http://upload.wikimedia.org/wikipedia/commons/b/b4/Ambox_important.svg License: Public do- main Contributors: Own work, based off of Image:Ambox scales.svg Original artist: Dsmurat (talk · contribs) • File:Mikhail-einsenstein-0713-01.jpg Source: http://upload.wikimedia.org/wikipedia/commons/7/70/Mikhail-einsenstein-0713-01. jpg License: Public domain Contributors: Literature, theater and music museum in Riga. Original artist: Amadalvarez • File:Sadanji_Ichikawa_II_and_Sergei_Eisenstein.jpg Source: http://upload.wikimedia.org/wikipedia/commons/2/2e/Sadanji_ Ichikawa_II_and_Sergei_Eisenstein.jpg License: Public domain Contributors: http://blog.livedoor.jp/tera1040/archives/cat_50098530. html Original artist: / Geijutsu Shinchō May 1999 issue • File:Sergei_Eisenstein_02.jpg Source: http://upload.wikimedia.org/wikipedia/commons/a/a8/Sergei_Eisenstein_02.jpg License: Public domain Contributors: [1] Original artist: Unknown

12.3 Content license

• Creative Commons Attribution-Share Alike 3.0