Word: eisensteins
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...used continued fractions over the ring of Eisenstein integers to approximate complex numbers. In my proofs, I was able to show that the continued fractions over this system do not necessarily converge," explains Cheung...
...efficiency and productivity. Like the radio telescope and the electron microscope, it represents an advance of a fundamental nature. Before PCR, scientists could not consider analyzing the DNA contained in a single cell, much less the degraded DNA recovered from dried blood or old bones. PCR, says Dr. Barry Eisenstein, chairman of the Department of Microbiology at the University of Michigan Medical School, "is enabling us to answer questions we only dreamed of five years...
...liberalism guarantee artistry? Alas, no. Nor are today's Soviet films likely to be superior to those of the first flush of revolution. Now that the specter of Stalinism has receded, another shadow haunts Soviet filmmakers, and it may be harder to escape. This is the legacy of Sergei Eisenstein, V.I. Pudovkin, Alexander Dovzhenko and Dziga Vertov, the giants of Soviet silent cinema. Their works (October, Mother, Earth, Man with a Movie Camera) remain at the core of every film curriculum; movies are still made in the visual language they helped invent...
...expect some 21st century director to filch a scene from Little Vera the way David Lean, Brian De Palma and others have quoted the Odessa Steps sequence from Eisenstein's Potemkin. For one thing, critical realism, the style of most glasnost films, eschews the bold editing effects and pristine iconography of the Soviet silents. But style is subordinate to message just now: the priority is journalism, not art. To U.S. eyes, the rebels without a cause in an alienated-teen drama like Valeri Ogorodnikov's The Burglar are a sight as nostalgic as Hula-Hoops. But in the U.S.S.R. these...
...state censorship board. For any reason or none, Goskino could cut a scene, ban a film, put a director out of work or put him in jail. Sergei Paradjanov, a lyric poet in the Dovzhenko mold, spent nearly four years in prison. Andrei Tarkovsky, the greatest Soviet director since Eisenstein, filmed Andrei Rublev in 1966; the complete version was not shown publicly in the U.S.S.R. until 1987, just after Tarkovsky died in exile. Alexander Askoldov's The Commissar, filmed in 1967, was accused of "Zionist tendencies" and suppressed for 20 years; Askoldov has yet to make another movie. Erakli Kvirikadze...