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...Francisco, whereupon Vincent Canby reviews it, throwing in a lot of references to Chekov and the Russian dramatic tradition. Then it either slinks back to Novsibirsk or else Pauline Kael then takes a look at it from the loftiness of The New Yorker and proceeds to chat about Eisenstein and the "true" cinematic revolutionaries like Godard. If it's lucky, Stanley Kauffman will give it three stars in the New Republic and slip in a little treatise on censorship. The film is craftily analyzed for corniness; (Hollywood has invariably done it before; these Russians, of course, have had very little...

Author: By Thomas Hines, | Title: Filmpolitik | 8/11/1981 | See Source »

...kill the prisoners-of-war, and the references to Richard's deposition and (in the Epilogue) to Henry VI's loss of everything. Then he added some lines from Marlowe's Tamburlaine, and hired a cast of thousands to stage an exciting Battle of Agincourt, virtually borrowed from Eisenstein's film Alexander Nevsky...

Author: By Caldwell Titcomb, | Title: More Than a Touch of Harry in the Night | 7/17/1981 | See Source »

This episode alone is not what makes Napoleon memorable. That quality derives from its shooting and editing. D.W.Griffith demonstrated the limitless scope of the screen's ability to tackle big scenes in Intolerance (1916). Eisenstein, in pictures like Battleship Potemkin (1925), showed how the juxtaposition of disparate images could create, through montage, meanings that were more felt than consciously understood. Gance's great contribution was to set the camera free of the tripod, making it a participant in, as well as an observer of, the action. His tracking shots were unprecedented...

Author: /time Magazine | Title: Show Business: Napoleon: An Epic out of Exile | 2/2/1981 | See Source »

...David Eisenstein Lawrenceville...

Author: /time Magazine | Title: Letters, Jul. 28, 1980 | 7/28/1980 | See Source »

...most important of the arts," declared Lenin in 1922, and not since Pope Julius ii commissioned Michelangelo to paint the Sistine Chapel ceiling had the proclamation of a chief of state resulted in such a sunburst of high art. A troika of young film maker-theoreticians-Sergei Eisenstein, V.I. Pudovkin and Alexander Dovzhenko-seized the movie toy and remade it into a sophisticated machine that dazzled the world intelligentsia, even as it instructed the Russian proletariat. As long as the party hierarchy was amused too, all was well. But in 1924 Stalin rephrased the famous dictum, and his diaphanous threat...

Author: /time Magazine | Title: Cinema: Movies for the Masses | 6/23/1980 | See Source »

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