| Name |
Sergei Eisenstein |
| Birth Year |
0000 |
| Death Year |
1948 |
| Comments |
Seminal Soviet filmaker who is credited with advancing the concept of "montage" cinema, or using editing to as a film form in itself. He worked in the period immediately following the Russian Revolution of 1917, and saw film as a powerful tool for educating and inspiring the masses.Was also prolific in cinema theory.
Filmography:
Glumov's Diary (1923)
Strike (1924)
Battleship Potemkin (1925)
Ten Days That Shook The World/October (1927)
Old and New (1929)
Que Viva Mexicol (1933)
Death Day (1934)
Bezhin Meadow (1937)
Alexander Nevsky (1938)
The Fergana Canal (1939)
Time in the Sun (1940)
Seeds of Freedom (1943)
Ivan the Terrible (1946) |
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References ( click to view )
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| chapter - Back of Beyond: Discovering Australian Film and Television, October 20 - November 20, 1988 : Formative Landscapes . 00-00-1988. pp.21-33 |
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Ross Gibson
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| This chapter is an analysis of the 'landscape tradition' in Australian cinema. This involves the notion of landscape as leitmotif, character and all-pervadin...[full record]
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| book - Claiming the Real . 00-00-1995 |
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Brian Winston
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| A critique of the principkes underpinning the dominant tradition of documentary filmaking, ie. the Grierson tradition. Takes a look at cinema verite, direct ...[full record]
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| book - Deadly Parallels . 00-00-1986 |
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Bert Hogenkamp
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| A histircal look at film and the left in Britain, between 1929-1939. Looks at particularly the labor film societies and relationship between socialist filmak...[full record]
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| book - Film on the Left . 00-00-1981 |
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Willliam Alexander
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| Historical overview of American left documentary filmaking (1931 - 1942), from the Workers' film and Photo League to Frontier Films.[full record]
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| book - They Must be Represented . 00-00-1994 |
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Paula Rabinowitz
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| Rabinowitz traces the origins of documentary from photography until the invention of vidoe verite and the Rodney Kink beating. In the process she deals with ...[full record]
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Close References
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