Podcast appearances and mentions of Sergei Eisenstein

Sergei Eisenstein's Battleship Potemkin tells a very complete story in only about 70 minutes. The black-and-white, silent flick is based on a real-life mutiny aboard a ship in the waters of the Black Sea near Ukraine. Of course, the incredibly influential Odessa Steps sequence is what people remember best...and it's the extremely violent result of this "war" against your own oppressive rulers. Eisenstein made one of the greatest Russian motion pictures ever here, but the storytelling and modern-feeling technical achievements (especially the editing) make this far more than just a old Communist propaganda film. So don't just hang out in your hammock below-deck and starve on a government boat. No, rise up, comrades, and devour the 664th edition of Have You Ever Seen, the one about Battleship Potemkin. Canadians and Americans (not Russian or Ukrainian residents, unfortunately) can order Sparkplug Coffee and get a onetime 20% discount. Use our "HYES" promo code to achieve that. The website is "sparkplug.coffee/hyes". Subscribe to Have You Ever Seen for weekly classic movie reviews. Rate our show and write a review about it in your app too. And look for us on YouTube (@hyesellis in the search bar). Communication options? One is email (haveyoueverseenpodcast@gmail.com). Another is social media: ryan-ellis and @bevellisellis on Bluesky...@moviefiend51 and @bevellisellis on Twi-X.

ХРИСТОС ВОСКРЕСЕ!**this is a short preview of a much longer bonus episode we did on Sergei Eisenstein's Battleship Potemkin, available for $3 and $5 patrons** Religious symbolism plays a major role in the works of Sergei Eisenstein, so we found ourselves discussing it quite a bit during our episode on Battleship Potemkin. For Easter, we've cut those sections of the episode together in one concentrated mini-episode. Support the show

Join hosts Jason, Tony, and our new co-host, Paul, on Episode One of Season Two! On this episode we discuss Sergei Eisenstein's epic two-part Soviet masterpiece Ivan the Terrible, released in 1945 and 1958 respectively. The films were commissioned by Joseph Stalin in 1941 as a means to rehabilitate Ivan the Terrible's image for a contemporary Soviet audience. Stalin celebrated Part 1, but the state banned Part 2. A third part had been in the works, but was abandoned by Eisenstein after the suppression of the second part. Our discussion touches on this history and many other topics, including Soviet montage, dialectical art construction, Eisenstein's queerness, his fraught relationship with Stalin, and more.  This is the first episode of a new format in which we take book or movie recommendations from each of us, which are found below:  Tony's book recommendations: Sergei Eisenstein: A Life in Conflict by Ronald Bergan (2016) Narrative, Apparatus, Ideology, edited by Philip Rosen (1986) Film Form: Essays in Film Theory by Sergei Eisenstein (1949) Paul's book and film recommendations: This Thing of Darkness: Eisenstein's Ivan the Terrible in Stalinist Russia by Joan Neuberger (2019) Ivan the Terrible by Joan Neuberger  Battleship Potemkin (1925; dir. Sergei Eisenstein) Jason's movie recommendations: Come and See (1985; dir. Elem Klimov)  The Ascent (1977; dir. Larisa Shepitko)  Wings (1966; dir. Larisa Shepitko)  Please subscribe to the podcast, and don't forget to leave a review! Follow Jason on Twitter at @JasonAChristian and Anthony at @tonyjballas; follow Paul on BlueSky at @ptklein.com. Paul writes about movies at www.howtoreadmovies.com. Paul's handle on Letterboxd is https://letterboxd.com/ptklein/; Jason's is https://letterboxd.com/exilemagic/.  Our logo is by Jason Christian  The theme music for this episode and all forthcoming episodes is by DYAD (Charles Ballas and Jeremy Averitt).  Please drop us a line anytime at coldwarcinemapod@gmail.com. Happy listening!  

1925: El Acorazado Potemkin y La quimera del oro Miremos hacia atrás. Cien años. Mil novecientos veinticinco fue y será siempre un año extraordinario y determinante para el cine. Ese mismo año estrenaron en el mundo El acorazado Potemkin y La quimera del oro. La primera, obra del realizador soviético Sergei Eisenstein, es un ejemplo claro del poder del lenguaje cinematográfico y de cómo su ejercicio es un arte en sí. Mucho se debate sobre si es la obra cumbre de Eisenstein, pero tenemos claro que es una película que se ha estudiado, se estudia y se seguirá haciendo en escuelas, cursos y talleres de cine de todo el mundo. La segunda es la película que el británico Charlie Chaplin escribió, dirigió y protagonizó para unir en una sola historia, un western atípico pero ejemplar, a la tragedia y a la comedia. Se trata de una historia que también eleva al lenguaje del cine al nivel de arte puro. Pero también y a su manera, muestra algunas grietas peligrosas del sueño americano. Dos obras cumbre del cine se estrenaron hace cien años: El acorazado Potemkin y La quimera del oro. Para comentarlas desde el amor puro que tenemos al cine invitamos a este episodio al crítico Sergio Huidobro, profesor cinematográfico, tallerista y amigo de Cinegarage. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ally Pitts announces a screening of Lev Kuleshov's By the Law; 3pm on Sunday 24th November '24 at the Barbican Cinema, and a screening of Sergei Eisenstein's Battleship Potemkin at the Winter Gardens in Morecambe in Lancashire on at 7.15pm on Saturday 30th November '24. Links mentioned/alluded to in the episode: https://www.barbican.org.uk/whats-on/2024/event/silent-film-live-music-by-the-law  https://www.northernsilents.com/whats-on/battleship-potemkin-morecambe  https://www.northernsilents.com/silents-by-the-sea  Ally Pitts on The Top 100 podcast with Tim Coleman: Man with a Movie Camera (Dziga Vertov; 1929) Contact us/socials: All the links for a Russian & Soviet Movie Podcast you're ever likely to want or need: linktr.ee/russiansovietmoviepodcast We've changed the name of the show, but the social handles/contacts are a bit of a mishmash. Email: russophilesunite@gmail.com Twitter (or 'X', if you really insist): @RussophilesU Letterboxd: https://letterboxd.com/Ally_Pitts/ https://letterboxd.com/ally_pitts/films/reviews/  https://letterboxd.com/ally_pitts/list/enjoy-the-silents-my-silent-film-recommendations/  https://letterboxd.com/ally_pitts/list/silent-films-with-scores-by-juliet-merchant/  Listen to Ally's other podcast appearances on Podchaser

Marshall and Stan discuss the importance of cinematic perspective in storytelling, emphasizing how camera placement, movement, lighting, and color can influence the audience's emotions and perceptions. By manipulating these elements, artists can create dynamic and engaging narratives. They also touched on the contrast between continuity and dialectic approaches in film editing, using examples from classic and modern films to illustrate how these techniques enhance storytelling. Learn to Draw - www.proko.com Marshall Vandruff - www.marshallart.com Stan Prokopenko - instagram.com/stanprokopenko Show Links (some contain affiliate links): The Perspective Course - http://proko.com/perspective  Marvel's The Art of Storytelling - http://proko.com/marvel  Cody Shank - https://codyshank.com  Sergei Eisenstein - https://en.wikipedia.org/wiki/Sergei_Eisenstein  Vsevolod Pudovkin - https://en.wikipedia.org/wiki/Vsevolod_Pudovkin  The Kuleshov Effect - https://en.wikipedia.org/wiki/Kuleshov_effect  Storytelling - Draftsmen S3E32 - https://www.proko.com/course-lesson/storytelling-draftsmen-s3e32/  Storytelling Lessons from The Simpsons - https://www.proko.com/simpsons  Books: Tongue Twisters by Alvin Schwartz - https://amzn.to/46xEeup The Elements of Eloquence by Mark Forsyth - https://amzn.to/4fs9sr3  Nicholas Nickleby by Charles Dickens - https://amzn.to/4ceFCDh  The Pickwick Papers, AKA The Posthumous Papers of the Pickwick Club by Charles Dickens - https://amzn.to/3WsCxcU  A Christmas Carol by Charles Dickens - https://amzn.to/4fxI8HO Sense and Sensibility by Jane Austin - https://amzn.to/3A7yDic  Pride and Prejudice by Jane Austin - https://amzn.to/4ceFNyr  Where's Waldo by Martin Handford - https://amzn.to/3AaBA1z  Understanding Movies by Louis Giannetti - https://amzn.to/4ca5hx6  Thank You For Arguing by Jay Heinrichs - https://amzn.to/4dweyk9  Movies: Ben-Hur (1925) - https://amzn.to/3YAbeAq  The Bear (2022 - Present) - https://www.hulu.com/series/05eb6a8e-90ed-4947-8c0b-e6536cbddd5f  Peaky Blinders (2013-2022) - https://www.netflix.com/title/80002479  Toy Story (1995) - https://amzn.to/4clhAGS  M*A*S*H (1970) - https://amzn.to/3X3u2H7  The Wizard of Oz (1939) - https://amzn.to/46CgdT1  Battleship Potemkin (1925) - https://amzn.to/4ci88Ed Back to the Future (1985) - https://amzn.to/4cgTD3m  Memento (2000) - https://amzn.to/46xFfCJ Betrayal (1983) - https://www.youtube.com/watch?v=iu2iT8fj3VI  Cast Away (2000) - https://amzn.to/46B5loi  Network (1976) - https://amzn.to/3LSlFHV  The Social Network (2010) - https://amzn.to/3SFdtyj  Double Indemnity (1944) - https://amzn.to/3WuiPh4  The Hangover (2009) - https://amzn.to/3Aaxwyd  The Good, The Bad, and The Ugly (1966) - https://amzn.to/3SFuWXv Midnight Run (1988) - https://amzn.to/4dhMl0U One Hour Photo (2002) - https://amzn.to/4dw3XFY  Dr. Strangelove (1964) - https://amzn.to/4dbPXBq  Ordinary People (1980) - https://amzn.to/3SExoO9  Learn more about your ad choices. Visit megaphone.fm/adchoices

Blamison dig into the film/propaganda piece known as Sergei Eisenstein' Oktyabr (1927). While it's no Bronenosets Potyomkin (1925), we dig into how the film uses editing and montage to create cinema that is certainly decades ahead of its time. This is a jolly episode filled with political and economic opinions that will probably lose us more listeners, but we aren't in it for the money after all. Also talked about: dat parenting 'bolshevik', silent films and their bombastic music, and we become singular spokesmen for our cities. Clip from Season 6, Episode 24 of MADTv.

On this episode of What a Picture, instead of eating the most disgusting borscht imaginable, Bryan and Hannah discuss Battleship Potemkin, the 1925 movie directed by Sergei Eisenstein that ranks #54 on Sight and Sound's 2022 Greatest Films of All Time Critics' Poll. Email us at podcast@whatapicturepod.com What a Picture website: https://whatapicturepod.com Bryan's Bluesky: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bsky.app/profile/bryanwhatapic.bsky.social⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bryan's Letterboxd: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://letterboxd.com/bryan_whatapic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bryan's Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/bryan_whatapic⁠⁠⁠⁠⁠⁠⁠⁠⁠ Music is "Phaser" by Static in Verona.

A frozen Lake Peipus played host to a dramatic fight between 2,000 Catholic Crusaders and 6,000 Orthodox Christians on 5th April, 1242. The invading forces were the Teutonic Knights, armed with spears and swords to ‘Christianize' what they saw as a Pagan society. Novgorod's defender, Prince Alexander Nevsky, lured the Germans to the lake, where his troops could take them down one by one, in a battle that went down in Russian lore.  In this episode, Arion, Rebecca and Olly reveal how much of the imagery of the battle was in fact crystallised by a controversial twentieth-century filmmaker; consider why the Knights were so unprepared for this particular confrontation; and ask what actual theological differences separated the warring factions…  Further Reading: • ‘Lake Peipus: Battle on the Ice' (Warfare History Network, 2005): https://warfarehistorynetwork.com/article/lake-peipus-battle-on-the-ice/ • ‘Alexander Nevsky - Prince of Novgorod and Kiev': https://www.thoughtco.com/alexander-nevsky-profile-p2-1788255 • ‘Alexander Nevsky' (Sergei Eisenstein, 1938): https://www.youtube.com/watch?v=Gq4PaJfod4w We'll be back on Monday - unless you join

Hello and welcome to a new season of the History of the Germans, the Teutonic Knights or to give them their full title, the knights of the hospital of St. Mary of the House of the Germans in Jerusalem. Even though the state they had created in Prussia has been wiped off the map with all its cultural markers, the Teutonic Knights are not forgotten. Less shrouded in nonsense than the Templars, less devoted to social causes than the Knights of St. John they still loom large not just in German history but even more so in Polish and Russian history. Both of these nations have placed victories over the Teutonic Knights at key junctions of their national narrative. But were the Teutonic knights these near invincible, cruel faceless war machines that Sergei Eisenstein had charging over the ice to the sound of Prokofiev brilliant score? That is what we will try to find out over the next few episodes. Expect your fair share of heroic battles, chivalric entertainment all intermingled with twisted theology and astute commercial activity. I hope you will enjoy it.The music for the show is Flute Sonata in E-flat major, H.545 by Carl Phillip Emmanuel Bach (or some claim it as BWV 1031 Johann Sebastian Bach) performed and arranged by Michel Rondeau under Common Creative Licence 3.0.As always:Homepage with maps, photos, transcripts and blog: www.historyofthegermans.comFacebook: @HOTGPod Twitter: @germanshistoryInstagram: history_of_the_germansReddit: u/historyofthegermansPatreon: https://www.patreon.com/HistoryofthegermansHere is the link to the article by Cory Doctorow: https://www.wired.com/story/tiktok-platforms-cory-doctorow/Bibliography:Steven Runciman: A history of the CrusadesEric Christiansen: The Northern CrusadesWilliam Urban: The Teutonic Knights - A mlitary HistoryJurgen Sarnowsky: Der Deutsche orden

Hello and welcome to a new season of the History of the Germans, the Teutonic Knights or to give them their full title, the knights of the hospital of St. Mary of the House of the Germans in Jerusalem.Even though the state they had created in Prussia has been wiped off the map with all its cultural markers, the Teutonic Knights are not forgotten. Less shrouded in nonsense than the Templars, less devoted to social causes than the Knights of St. John they still loom large not just in German history but even more so in Polish and Russian history. Both of these nations have placed victories over the Teutonic Knights at key junctions of their national narrative.But were the Teutonic knights these near invincible, cruel faceless war machines that Sergei Eisenstein had charging over the ice to the sound of Prokofiev brilliant score? That is what we will try to find out over the next few episodes. Expect your fair share of heroic battles, chivalric entertainment all intermingled with twisted theology and astute commercial activity. I hope you will enjoy it.The music for the show is Flute Sonata in E-flat major, H.545 by Carl Phillip Emmanuel Bach (or some claim it as BWV 1031 Johann Sebastian Bach) performed and arranged by Michel Rondeau under Common Creative Licence 3.0.As always:Homepage with maps, photos, transcripts and blog: www.historyofthegermans.comFacebook: @HOTGPod Twitter: @germanshistoryInstagram: history_of_the_germansReddit: u/historyofthegermansPatreon: https://www.patreon.com/HistoryofthegermansHere is the link to the article by Cory Doctorow: https://www.wired.com/story/tiktok-platforms-cory-doctorow/Bibliography:Steven Runciman: A history of the CrusadesEric Christiansen: The Northern CrusadesWilliam Urban: The Teutonic Knights - A mlitary HistoryJurgen Sarnowsky: Der Deutsche orden

Em 1938, uma comissão cinematográfica muito prestigiada veio até  Sergue Prokofiev quando ele foi convidado a escrever a música para o épico Alexander Nevsky , dirigido pelo célebre Sergei Eisenstein (1898-1948). Produto da colaboração entre o diretor Sergei Eisenstein e Serguei Prokofiev , o filme Alexander Nevsky (1938), esta cantata ostenta uma rica história sociopolítica e cultural. O tema do filme era muito patriótico, porém, após ter sido lançado em 1938, teve que ser retirado poucos meses após a assinatura do pacto de não agressão entre a Alemanha nazista e a URSS. Hoje temos o convidado o padrinho Aarão Barreto, do podcast Pilulas de Saúde, ao lado do jornalista Aroldo Glomb  FAÇA PARTE DO CONVERSA DE CÂMARA COM O NOSSO PADRIM! Então entre na conversa! No Padrin.com.br você pode ajudar o Conversa de Câmara a crescer e seguir divulgando ainda mais a boa música da humanidade. Mostre que você tem um gosto refinado apoiando a gente no Padrim.com.br⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.padrim.com.br/conversadecamara ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ RELAÇÃO DE PADRINS Karollina Coimbra, Aarão Barreto, Gustavo Klein, Fernanda Itri, Eduardo Barreto, Ediney Giordani, Tramujas Jr, Brasa de Andrade Neto e Aldo França.

Es un santo y uno de los grandes héroes de Rusia. Se forjó en el yunque de la guerra, logrando vencer a la implacable cruzada de los caballeros Teutónicos en 1242. Una película de Eisenstein lo inmortalizó. El gran Pako Gradaille, diseñador de juegos de mesa, vuelve a este programa para contarnos la historia de este hombre: Alexander Nevski. Imagen: Alexander Nevsky (1935) Sergei Eisenstein. Fuentes 1) Life of Alexander Nevsky, manuscrito de alrededor de 1280 https://en.wikipedia.org/wiki/Life_of_Alexander_Nevsky 2) Life of Alexander Nevsky, manuscrito iluminado de entre 1560 y 1570 https://en.wikipedia.org/wiki/Life_of_Alexander_Nevsky_(illuminated_manuscript) 3) The Chronicle of Novgorod, 1016-1471, traducción de Michell, Robert; Shakhmaton, A.A; Forbes, Nevill, 1883-1929; Beazley, C. Raymond (Charles Raymond), 1868-1955 https://archive.org/details/chronicleofnovgo00michrich 4) The Crisis of Medieval Russia 1200-1304, de John Fennell https://www.amazon.es/Crisis-Medieval-1200-1304-Longman-History/dp/0582481503 5) Wikipedia 6) Background Book del juego Nevsky, Teutons and Rus in Collission 1240-1242 de Volko Ruhnke publicado por GMT Games https://gmtwebsiteassets.s3-us-west-2.amazonaws.com/Nevsky/Nevsky_PLAYBOOK-FINAL.pdf Fuentes / Sitios web - Wikipedia Música: La música es de Oleg Zobachev, versionando a Duke Ellington, del Gran Quelonio y de Dunne. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

In this episode of "Theater Cleaners," Todd and Dom revisit the classic 1925 silent film "Battleship Potemkin," directed by Sergei Eisenstein.The film tells the story of a mutiny aboard the Russian battleship Potemkin in 1905, and the subsequent events as the crew attempts to spread their revolutionary ideals to the people of Odessa.Todd and Dom analyze the film's innovative use of montage, a groundbreaking editing technique that Eisenstein pioneered, to create powerful and emotionally charged sequences. They discuss the film's themes of revolution, social justice, and the power of the people to effect change. They also explore the film's historical context, including the events of the Russian Revolution and the censorship battles that "Battleship Potemkin" faced upon release. They discuss the film's impact on cinema history, as well as its lasting influence on filmmakers around the world.Join Todd and Dom as they reflect on the legacy of "Battleship Potemkin" and explore why it remains a landmark in the history of cinema nearly a century after its release

Sergei Eisenstein's cross between horror and historical epic This episode is also available as a blog entry at https://tashpix.wordpress.com/2018/10/07/ivan-the-terrible/

Big year of big movies! Sergei Eisenstein pushes narrative filmmaking forward in a big way with the thrilling Battleship Potemkin, Charlie Chaplin further refines his balance of comedy and drama, Lon Chaney terrifies as the Phantom of the Opera, and dinosaurs cause mayhem in The Lost World!  You can watch along with our video version of the episode here on Youtube! You can check out our Instagram, Twitter, and other social media crap here: http://linktr.ee/1w1y And you can watch and form your own opinions from our 1925 Films Discussed playlist right here! See you next year!  

A guerra na Ucrânia não mexe apenas com o tabuleiro político do mundo, com as vidas e o cotidiano de milhares de inocentes, obrigados a enfrentar as consequências de uma invasão injustificável. O conflito tem também um dramático impacto no mundo das artes. É o que atesta a ucraniana Elena Rubashevska, editora-chefe da Federação Internacional de Críticos de Cinema (Fipresci). Em entrevista à RFI durante a Berlinale, ela analisa o atual estado do setor cinematográfico ucraniano. Daniella Franco, enviada especial da RFI a BerlimNesta 73ª edição do Festival Internacional de Cinema de Berlim, o povo ucraniano é homenageado, através da exibição de filmes e eventos paralelos. Na cerimônia da abertura, na semana passada, o presidente Volodymyr Zelensky realizou um contundente discurso, reforçando o pedido por ajuda para o fim da guerra e emocionando a plateia.O apelo também se reflete nas produções selecionadas para a Berlinale 2023. A começar por "Superpower", badalado documentário de Sean Penn e Aaron Kaufman, que apresenta um retrato de Zelensky. Há exatamente um ano, os diretores estavam em Kiev, sem suspeitar que testemunhariam o início de uma longa e sangrenta guerra – uma situação que rendeu uma forte publicidade ao trabalho, considerado sensacionalista por parte da crítica.  Menos hollywoodianas, várias outras produções ucranianas exibidas na Berlinale também tratam do conflito ou das consequências dele. É o caso dos documentários "In Ukraine", de Piotr Pawlus and Tomasz Wolski, "Iron Butterflies", de Roman Liubyi, "Eastern Front", de Vitaly Mansky e ainda "We will not fade away", de Alisa Kovalenko.No entanto, a crítica de cinema e cineasta ucraniana Elena Rubashevska, 30 anos, editora-chefe da Federação Internacional de Críticos de Cinema (Fipresci), expressa seu ceticismo sobre todo o burburinho em torno desses trabalhos. Integrante de um dos júris responsáveis pela premiação concedida pela entidade a filmes que competem em quatro mostras da Berlinale, ela também tem dúvidas sobre a imagem de ferramenta de soft power que tem o festival. "Como jurada e representante oficial de uma organização, eu deveria ser diplomática, mas como pessoa e artista, tenho a tendência de me deixar levar pela emoção e talvez julgar um pouco rapidamente", ressalta. "Infelizmente, eu observo como grandes festivais tentam manter seu status. Eles recebem financiamentos imensos, fazem muito buzz, convidam grandes estrelas, como a Kristen Stewart [presidente do júri desta edição da Berlinale]", diz a crítica de cinema e cineasta ucraniana. Essa é a primeira vez que Elena participa do Festival de Berlim, considerados um dos mais importantes do mundo e célebre por sua dimensão política. Mas, para ela, eventos menores e menos famosos trazem mais benefícios em termos de oportunidades de descobertas, debates e aprendizados."Não acho que a Berlinale vá promover mudanças políticas agora. Para chegar aqui de países como a Ucrânia ou Belarus você tem que saber dialogar e apresentar o seu trabalho. E isso é novo para gente: ainda estamos aprendendo como fazer parte da sociedade europeia. Acho que pessoas com pontos de vista alternativos, aqueles que querem verdadeiras mudanças no país, não sabem como entrar nessa indústria e se apresentar a ela", avalia.Elena fala com conhecimento de causa. Vivendo na Alemanha depois de ter morado na Polônia, onde obteve status de refugiada, ela contou à RFI como escapou da guerra. A jovem é originária do Donbass, região do leste do país que é palco dos combates mais violentos entre o exército ucraniano e as forças russas."Nasci em Donetsk e vivi lá até terminar meus estudos. Depois me mudei para Kiev, mas minha família ficou em Donetsk, então eu voltava para lá de vez em quando. Um ano antes do início da guerra, eu comprei um apartamento em Bucha, o que foi uma má ideia porque o primeiro massacre da guerra ocorreu lá”, relembra.A crítica de cinema conta que, desde então, não pôde mais retornar ao local. “É como se você saísse para ir na padaria e nunca mais pudesse voltar para casa. Eu entrei em um trem de evacuação em direção à Polônia, sem carregar nada comigo, documentos, dinheiro, nada.”Na Polônia, após se instalar, Elena conseguiu voltar a trabalhar e colaborou com a realização de um festival de cinema. “Nunca pensei em viver em Berlim. Agora faz sentido permanecer aqui porque essa é uma cidade movimentada, onde muitas coisas acontecem. Para um refugiado, Berlim é uma cidade interessante”, avalia.Cinema ucraniano em guerraA jovem também tem uma visão crítica sobre os concorrentes ucranianos da Berlinale e expressa sua decepção sobre o estado do setor do cinema do país nesse momento. Segundo ela, a guerra também é instrumentalizada por profissionais do setor cinematográfico.“Não estou participando dos eventos relacionados à Ucrânia aqui ou em outros festivais porque sei bem o que acontece: geralmente eles repetem as mesmas mensagens, o que eu não acho que ajuda, já que a situação na Ucrânia só piora. Muitos artistas estão se aproveitando dessa situação para conseguir financiamento, porque quando alguém fala frases mágicas como 'estou fazendo um filme sobre a guerra', vai conseguir patrocínio”, desabafa.Elena deixa claro que torce pela Ucrânia e por seus compatriotas do setor cinematográfico, mas acredita que financiadores ocidentais deveriam prestar mais atenção em quem investem. “Muita gente está pensando só em si mesmo e não nas necessidades do país como um coletivo”, adverte.A editora-chefe da Fipresci também expressa sua decepção com a associação do cinema ucraniano apenas com o conflito. “Meu país e sua cultura são muito mais que isso! E tantos filmes podem ser feitos... Sim, é importante falar sobre a guerra, mas não só sobre a guerra. Precisamos mostrar quem somos, pelo que estamos lutando”, diz.Elena relata que dentro do setor cinematográfico, os financiamentos que já eram escassos, obedecem agora a uma demanda monotemática. Para ela, nos próximos anos, as produções ucranianas serão previsíveis.  “É triste porque conheço muitos cineastas ucranianos e, antes da guerra, eles sonhavam em fazer comédias, filmes de romance, terror, mas isso não é prioridade agora. Talvez teremos grandes dramas sobre a guerra, mas, durante um certo tempo, será tudo muito limitado à situação política da Ucrânia”, lamenta.Grande fã de ficções científicas, a jovem que também é cineasta e roteirista teve o financiamento estatal para um projeto de filme deste gênero recusado devido ao alto custo da produção. Ela resolveu então se dedicar a um trabalho sobre a região do Donbass, de onde é originária. “E então recebi dinheiro”, ri, ressaltando que sua intenção foi sincera, mas lamentando que a agenda do mundo paute de forma uniformizada a arte em seu país.O fenômeno não é inédito, reconhece, citando a situação do setor artístico nos países dos Bálcãs. “Já faz trinta anos que a guerra acabou lá, mas há uma certa imagem que a comunidade internacional do cinema espera desta região e eles se dobram a isso. O mesmo acontece agora com a Ucrânia e, pessoalmente, não acho que é correto e não estou feliz com isso.”Há uma alternativa para que a arte se sobressaia a essa demanda? Elena acredita que sim. Ela lembra que na época do império soviético, quando havia uma agenda imposta pelo regime, surgiram grandes nomes do cinema, como Sergei Eisenstein e Andrei Tarkovsky. “Ainda assim eles tiveram que se adaptar, sendo realmente inventivos e pensando como usar a verdadeira arte contra a propaganda”, observa.Esperança para o futuro está na arteA maioria dos amigos de Elena preferiu permanecer na Ucrânia para não se afastar das famílias e segundo, ela, “esperando que a guerra acabasse logo e que a vida normal pudesse recomeçar”. O pai da cineasta ainda está baseado em Donetsk e a mãe foi para Belarus.  “É desafiador para nós porque a situação está ficando mais tensa a cada dia. Não sabemos se as fronteiras vão todas fechar e não poderemos mais nos ver. É muito difícil estar longe. A cada conversa, vem a frase: ‘vamos esperar que da próxima vez que nos falarmos teremos boas notícias', mas não acho que isso acontecerá em breve”, diz, emocionada.Elena deposita na arte sua esperança para o futuro e salienta: “a cultura é a melhor arma contra a guerra”. A jovem trabalha atualmente na futura edição do festival internacional de filme etnográfico Oko, que muito provavelmente não poderá ser realizado na Ucrânia. “Acredito que essa resistência pacífica é a melhor forma de realizar mudanças”, conclui. 

Heute vor 125 Jahren wurde in Riga Sergei Eisenstein geboren, sowjetischer Regisseur und Visionär der Filmgeschichte.

How can social change be instantly ignited? Are human beings doomed to a prison of idealism? How should we act in the wake of annihilation? To conclude our two-week series on Russia, this week's episode focuses on the rise of the Soviet Union, the perennial dilemmas it failed to solve and the burdens of geopolitical heavyweights. Get in contact: Email: contact@jimmybernasconi.com Instagram: https://www.instagram.com/jimmy_bernasconi/ --- Send in a voice message: https://anchor.fm/2xxfm-sacredcinema/message

What does Russia feel that it has to protect? What is required when establishing a cultural identity? What is required to protect a cultural identity? With the recent release of 'Kompromat', both this week and next week's episodes will try to account for Russia's current cultural identity in order to better understand its recent geopolitical behaviour. Get in Contact Email: contact@jimmybernasconi.com Instagram: https://www.instagram.com/jimmy_bernasconi/ --- Send in a voice message: https://anchor.fm/2xxfm-sacredcinema/message

To mark the 5th anniversary of the release of the pilot episode one for this show, we're taking you to where it all began...our host Ally Pitts's podcasting debut! Classic Schmassic was an amazing comedy podcast about movies from before 1980. For this episode, Ally joined hosts Chris Mead & Owen Choules to discuss Sergei Eisenstein's Battleship Potemkin and whether it lives up to its reputation. You can find more about Chris and his work as an improv performer and teacher at chrismead.co. Owen has been a guest on shows including As If: A Minute-by-Minute Clueless podcast and the Four Weddings and a Funeral episode of the brilliant Falling in Love Montage. Some Ways You Can Support the Show: First of all, please subscribe on your podcast app of choice, if you haven't already! You can make a one-off donation at ko-fi-com/russophilesunite If you're listening from the UK, you can pick up a book from our uk.bookshop.org affiliate store; 10% of the sale will go towards the running of the show, and another 10% will go towards supporting independent bookshops around the country. There's also our www.rusandsov.com affiliate store where you can get t-shirts, wall posters, coffee mugs, and more with a Russian and or Soviet theme. If you use the promo code RUSSOPHILESUNITE at check out, you'll get 10% off, and they ship locally in the US, the EU, and Australia. If you enjoyed this episode, please follow and rate us on Podchaser: www.podchaser.com/russophilesunitemoviepodcast Contact Us: Twitter: @RussophilesU Email: russophilesunite@gmail.com Facebook: www.facebook.com/groups/russophilesunite Instagram: www.instagram.com/russophiles_unite/ Letterboxd: https://letterboxd.com/Ally_ Find Ally's other podcast appearances at: https://www.podchaser.com/creators/alistair-pitts-107ZzmUqmI

Odesa, legendary Black Sea port city and vital geo-strategic nexus of global trade, is living through Russia's war against Ukraine. Always fiercely independent, both from Moscow and Kiev, its legendary past has given the city a reputation of possibility and promise. A quarter of a million people have left Odesa. Its beloved holiday beaches are closed and mined, yet life has gradually returned to its performance spaces: concerts, opera, spoken word. Recordings made since the first days of the war interweave with the fabulously rich cultural history of the city. Founded in 1794 by Catherine the Great as part of her expanding empire of Novo Rossiya, Odesa began as a dusty boom town of enormous opportunity and possibility that connected the chill of Imperial Russia to the warmth of the wider world. In some ways nothing has changed. A port city possessed of a unique argot - 'Odesski Iazyk' (a fusion of Yiddish and Russian); eternal optimism; a wicked sense of humour; more violinists than you can shake a bow at; poets and writers galore; and a gallery of rogues, real and imagined. Perhaps its most beloved literary son is Isaac Babel. Raised in the Moldovanka- still a place of liminal existence, his Odessa Tales of gangster anti-heroes like Benya Krik are forever interwoven with how Odesites and the wider world imagine the city - beautiful and bad! It is of course only partially true. Film-maker Sergei Eisenstein's Battle Ship Potemkin also put the city on the world map and the first film studios in Russia sprang up there. with its ready supply of sunlight. From foundational boom town days onwards its streets and people could make you rich, or ruin you. In the crumbling days of the Soviet empire it was a place to dream of escape to a world beyond. Babel and Eisenstein are just two among many who, since the 19th Century have helped created the myth of Old Odessa -poets and writers, musicians and comedians who flourished in what was a largely Jewish city until 1941 and the Nazi invasion of Russia. Legendary violinists ever since David Oistrakh are forged there at the Stolyarsky School, now closed due to war. Musician Alec Koypt, who grew up in the mean streets of Molodvanka, shipping proprietor Roman Morgenshtern, journalist Vlad Davidson, translator Boris Dralyuk, poets Boris and Lyudmila Kershonsky and others are our contemporary guides as the voices of the past bring forth their very Odesan genius.

Before we get into the show today, this episode was recorded on December 2nd, 2021, 54 days before the Russian invasion of Ukraine. When the invasion occurred Rachael and I made sure that we wanted to make this and the following points clear. We stand with Ukraine and that we made this with the intention of discussing the film's historical and cultural significance and to contextualize it for our time. On today's episode of Cinemallennials I talked to Rachael Crawley, making it 3 out of three K Cut hosts and we talked about Sergei Eisenstein's medieval epic, Alexander Nevsky. Mostly known for his Soviet supported and majorly influential films like Battleship Potempkin, and October: Ten Days that Shook the World, Sergei Eisenstein is not only considered one of the first film theorists, but is often considered as one of the greatest artists the screen has ever known. While Nevsky isn't the first propaganda film, it's visionary director, paved the way we see historical epics and how they are created. From his use of undercranking the camera, shot composition, and use of powerful score, Eisenstein began a seemingly never ending thread of how moving images can influence an audience into believing that they too can emulate the characters and situations on screen. Alexander Nevsky follows the story of The Battle on the Ice, a pivotal conflict in Russian history in which Russian Prince Alexander Nevksy, fought The Germanic Teutonic Order fought to save Russian Orthodoxy. After the knights of the Teutonic Order sack the city of Pskov Alexander rallies his the peasantry to form a small army in order to repel the almighty power of the papally backed Teutonic Knights. Alexander Nevsky and its impact today exhibits just how powerfully long lasting the silver screen can be. SO sit back relax and let there be no more war. Click here to support Ukrainian Refugees You can check out Alexander Nevsky on The Criterion Channel Cinemallennials is a podcast where myself and another millennial are introduced to a classic film for the very first time ranging from the birth of cinema to the 1960s. Myself and my guest will open your eyes to the vast landscape of classic film as we discuss the films' performers, their performances, those behind the camera, and how they and their films still influence our world today. Website: https://dlewmoviereview.com/ Social Media: Facebook: facebook.com/dlewmoviereviews/ Twitter: twitter.com/dlewmoviereview Instagram: @cinemallennials

Footnote #8 offers a brief detour to the abridged and incomplete animated writings of Russian filmmaker Sergei Eisenstein from the 1940s, and in particular his notorious concept of “plasmaticness” that he argued was a way of understanding the appeal and attraction of Walt Disney's cartoon images. Listen as Chris and Alex discuss the historical, political, technological, and aesthetic dimensions of “plasmaticness” and the term's relationship to the Hollywood “rubberhosing” style; the “irresistible changeability” of Disney's reforming bodies and how, for Eisenstein, such figures momentarily took spectators back to a pre-conscious mode of existence; Disney's own artistic shift away from plasmatic impulses towards a “hyper-realist” sensibility; and the contemporary digital afterlives of Eisenstein's animated approach to transformation, character, and movement. **Fantasy/Animation theme tune composed by Francisca Araujo**

John Reed, no necesita presentación para ningún comunista, ya que se encargó de narrar los primeros días de la Revolución bolchevique en primera línea, plasmándolos en su famosa obra "Diez días que estremecieron al mundo", y que es el guión de esta película de 1967, un documento de un valor histórico indudable, y que debe servir para que las futuras generaciones puedan comprender el alcance de la Revolución Rusa. La película documental está formada por distintas secuencias de películas relacionadas con la revolución rusa y documentales de la época de Sergei Eisenstein y Grigori Aleksandrov. Se trata de una coproducción URSS-Reino Unido; AP Novosti / Granada Televisión. El guión de Grigori Aleksandrov, Derek Granger, Michael Murphy, Norman Swallow sobre la obra de John Reed El título original de la obra es "Ten Days That Shook the World (TV)"

For access to full-length premium episodes and the SJ Grotto of Truth Discord, subscribe to the Al-Wara' Frequency at patreon.com/subliminaljihad. Dimitri and Khalid finally set their sights on Big Mouse and embark on a wide-ranging investigation of all things Disney, including: their monopolistic control over the collective American imagination, how the current conservative attacks on Disney ain't nuttin' new, Peter Schweizer's 1999 takedown “The Mouse Betrayed: Greed, Corruption, and Children At Risk”, Marc Eliot's much-maligned “Walt Disney: Hollywood's Dark Prince” from 1992, Henry Giroux's "The Mouse That Roared: Disney and the End of Innocence”, Disney-as-New Religious Movement, Walt Disney becoming the convenient WASP face of Hollywood to assuage the “Presbyterian censorship” of the Hays Code era, Disney as secularized manifestation of Old Line White Protestant cultural hegemony, Walt's heavy flirtations with Nazism in the late 1930s, the anality of early Disney cartoons and sus Lacanian undertones, Walter Benjamin and Sergei Eisenstein's critical support for Mickey Mouse, Walt's abusive anti-Semitic dirtbag socialist evangelical Christian father, his ancestral ties to the Norman conquest of England, Walt discovering that his parents might not be his real parents, J. Edgar Hoover grooming Walt to be the perfect Lost Boy FBI informant, and the traumatic abduction of Oswald the Lucky Rabbit.

In this episode we will look at Soviet filmmaker Sergei Eisenstein's "Ivan the Terrible."  Here I detail three different interpretations of the film: the Stalinist view, the "subversive affirmation" opinion, and the Renaissance perspective.  And I will describe my thoughts on which interpretation makes the most sense.

Jackie and Greg take on Sergei Eisenstein's landmark silent film from 1925. Topics of discussion include Eisenstein's montage theory, the Kuleshov effect, the film's origins as a piece of Soviet propaganda, and how the Odessa Steps sequence is probably the most iconic in all of cinema.#11 on Sight & Sound's "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew Cox

1928: Der sowjetische Arbeiter Ljowuschka wird als Trotzki-Darsteller für einen Film von Sergei Eisenstein gecastet. Doch als Trotzki bei Stalin in Ungnade fällt, muss auch sein Darsteller Ljowuschka fliehen und landet in einem mondänen Badeort an der Ostsee. Dort bahnt sich eine sommerliche Romanze mit der exzentrischen Fabrikbesitzerin Octavia an – dumm nur, dass in der Gegend auch Vampire ihr Unwesen treiben.

On this episode we open our ears to the sounds of silent films with an audio documentary about musicians who compose new scores to movies from a century ago. These composers are smitten with the works of Sergei Eisenstein, Buster Keaton, early Alfred Hitchcock and others. Before the doc, we open with one man's obsession with the Odessa Steps in Eisenstein's "Battleship Potemkin."

Segei Eisenstein's film Battleship Potemkin is often hailed as one of the best films ever made. It tells the story (based on a real-life incident) of the crew of a Russian battleship mutinying in 1905, leading to a bloody confrontation in the streets of Odessa.CinePunked gather to assess its value to a modern audience and pick apart the propeganda from the truth.

Title: One Man's Hero is Another Man's TraitorDescription: Today, Steve and Jacob Herr try to find something to like about the 1999 film, One Man's Hero. This film tries to tell the story of the San Patricio Battalion. Does it succeed or is it a nightmare of history in film?Learn More About our Guest:Jacob Herr, actor and historianhttps://www.trendyhistory.org/listing/erin-go-bragh-batallon-de-sa?product=2You can learn more about Beyond the Big Screen and subscribe at all these great places:www.atozhistorypage.comwww.beyondthebigscreen.comClick here to support Beyond the Big Screen!https://www.subscribestar.com/beyondthebigscreenhttps://www.patreon.com/beyondthebigscreenClick to Subscribe:https://www.spreaker.com/show/4926576/episodes/feedemail: steve@atozhistorypage.comwww.beyondthebigscreen.comhttps://www.patreon.com/historyofthepapacyParthenon Podcast Network Home:parthenonpodcast.comOn Social Media: https://www.facebook.com/groups/atozhistorypagehttps://www.facebook.com/HistoryOfThePapacyPodcasthttps://twitter.com/atozhistoryMusic Provided by:"Crossing the Chasm" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 Licensehttp://creativecommons.org/licenses/by/3.0/Image Credits:By http://www.cinemotions.net/data/films/0315/39/1/affiche-One-Man-s-Hero-1999-1.jpg, Fair use, https://en.wikipedia.org/w/index.php?curid=22125033Begin Transcript:Thank you again for listening to Beyond the Big Screen podcast. We are a member of the Parthenon Podcast network. Of course, a big thanks goes out to Jacob Herr. Links to learn more about Jacob and his history themed merchandise can be found at trendinghistory.com or in the Show Notes. In this episode, we talk about the 1999 film One Man's Hero based on the history of the San Patricio Battalion in the Mexican American War. In the last episode, Jacob led us through the real history and background of this fascinating story. Listening to that episode only makes this one even better!You can now support beyond the big screen on Patreon and Subscribe Star. By joining on Patreon and Subscribe star, you help keep Beyond the Big Screen going and get many great benefits. Go to patreon dot com forward slash beyond the big screen or subscribe star dot com forward slash beyond the big screen dot com to learn more.Another way to support Beyond the big screen is to leave a rating and review on Apple Podcasts. These reviews really help me know what you think of the show and help other people learn about Beyond the Big screen. More about the Parthenon Podcast Network can be found at Parthenonpodcast.com. You can learn more about Beyond the Big Screen, great movies and stories so great they should be movies on various social media platforms by searching for A to z history. Links to all this and more can be found at beyond the big screen dot com. I thank you for joining me again, Beyond the big Screen.[00:00:00] I'd like to welcome back. Jacob heard to beyond the big screen, Jacob has been on to talk about Billy, the kid and film and in history and in the last episode. So I highly suggest you go back and listen to the last episode. He gave us a ton of background and context on the San Patricio battalion from the Mexican-American war.Today, we are going to talk about the 1990. Film one man's hero, a film that dramatizes the events of the San Patricio battalion during the, the Mexican American war. And like I said, I highly encouraged people to go back and listen to our episode on the history of the St. Patrice CEO's. Catholic deserters from the U S army to the Mexican army during the Mexican-American war.I really think you'll enjoy it. But, um, just to set things up for today in this 1999 film, starring Tom Berenger, what's the very short story of the San Patricio. So the [00:01:00] very short, uh, nutshell version of the, uh, San Patricio, they were a group of immigrants. Most of them, uh, associated with, uh, Catholicism, but others just trying to seek new life in America and winding up in the military at the outbreak of the Mexican American war.And. Through the circumstances of the conflict. Many of these immigrants had ended up, uh, deserving the U S army making their way to Mexico and then offering their services to the Mexican military because they found they found a stronger connection. Culturally to the Mexican people then to the United States.Now this film at stars, as we said, Tom Berenger has Sergeant Lieutenant, captain, John Riley. Uh Berenger. He almost makes a, made a career out of playing the grizzled army Sergeant. And this time he does it with an Irish [00:02:00] accent, we have a . De Alameda, he plays Courtine on. I found him as kind of the shining star of the movie for me, even though his part's kind of almost an explicable, but I think that as an actor, he did a wonderful job and, um, de Alomeda is actually a Portuguese actor and a shout out to, uh, a great friend of the show and a personal friend.On Tonio from Portugal who pointed this out to me. And then the other main star, I guess, or the movie you could say is Daniella Romero who plays in Marta. The love interest in this really strange love triangle between Kortina Tom Berenger's, Riley character, and then Marta. And she was a famous Mexican musician of the eighties and nineties, I guess it's really hard to find a place.Dart with this movie, I guess for me it happens. It's one of my first questions of the movie is [00:03:00] really upfront. And the movie Sergeant Riley, he turns on a dime w I, and he desserts from the army. He's pretty cool with the army. If he's putting the, uh, the, as a us Sergeant, he's putting people in their place.He has like one kind of sorta negative interaction with his, uh, commander and then like, boom, bang, bang keys deserted the us army he's and he's fighting for the Mexican army. I have to imagine in history. And we talked about in the last episode, it didn't happen that quickly, but why do you think in the movie it, they did it that quickly.Um, two reasons. Uh, bad writing. And, uh, secondly, uh, when you're trying to take a history that in courses, multiple years and multiple different political and social environments, and you have to put them together into this two-hour movie that you're going to show to the public and try to make money off of it.[00:04:00] There's a lot to cram in. And that's, I think that's one of the big problems when you have this dramatic shift in. Less than 10 minutes into the movie, it comes off as very awkward. And very poorly written and here's, um, anomaly that I found out about the writing of the movie. Apparently the guy who had written the script, his name was Milton S Gelman.He had actually had a history of writing for television, not an exclusively. Fifties, Western television that we had talked about in our Sam Peck and Paul pat Garrett, and Billy, the kid episode, he wrote episodes for tombstone territory, Gunsmoke that entire sub genre of television in the fifties and sixties.Now here's the kicker. He actually passed away in 1990. So he never actually got to see [00:05:00] this script that he created. Turn into the final product. And so it must have just been bouncing around from one studio to another, before it was picked up by the director and the producer, uh, LanSchool. It makes a lot of sense because it does, it has.Taste and appeal of a Western, but not in a good way either. I just, I love to get your thoughts on this because you're an actor and have done stage and probably have a ton more experience and education in this, but it seemed the whole theme of the movie is a tight shot. Everything is zoomed in to an you on these, like.Moments and you miss the whole big picture, like all the action it zoomed in and we'll get into it. But in the battle of Churubusco you get no sense of the battle. It just looks [00:06:00] like there's like 10 guys on each side going at it. And it just seemed the whole movie to me is it's two zoomed in and you get no idea of the big picture.Yeah. And now granted, I have seen some movies where that is actually used to your advantage, where you have very, a very small amount of extras or main characters. And you're trying to encompass a historical battle that had thousands or tens of thousands of people, you know, shooting at each other and hacking each other to death.Um, but when you're trying to capture it on film, Um, one of the ways that you can try to make things look larger than what you really have to work with is that you use the camera almost as if the camera man is like another person in that battle. Um, Sergei Eisenstein did it in Alexander Nevsky and even, uh, I know another famous director had done [00:07:00] it in an independent project.Orson Welles did it in chimes at midnight, 1965. The difference though, is that when you're using cinematography like that, you're trying to get a first person perspective where everything has to be clear, everything you need to have an established sense of what is at stake. And a connection to the characters.We're not connected to these characters because they're so poorly written. They're not characters, they're caricature and because everything is so hectic, we have no idea. What's. I thought that was, I felt like a day Alameda. Kortina almost Telegraph that he made a line while Berenger is Sergeant Riley, he's injured and Marta's rehabilitating him.

Last weekend, Miles and John planned on recording a spoiler-filled take on Worst Person in the World. As we release the episode, we would like to offer a statement of solidarity with the Ukrainian people:"John and I firmly stand for the Ukrainian people facing a senseless war against Putin and his delusional and cruel regime. We strongly encourage you visit (for example) the NPR and Fortune Magazine's list of comprehensive resources to assist in any way you can, as well as to check social media as it seems new and increasingly direct ways to help appear every day. We wanted to take a moment to recognize that the Ukrainian culture, people, and art including their filmmaking, are a unique and rich identity from their neighbors and have listed some of note that you can watch at Criterion Channel, Netflix and elsewhere.Thank you, and if you yourself are in Ukraine, John and I are wishing you and your families, your pets, neighbors and community safety and that you may return home soon. We may be a world away but we are thinking of you and watching.-Miles F Ukrainian FilmmakersKira Muratova:Filmmaker whose work spans the Soviet and post-Soviet period. Films were heavily criticized and censored by Soviet authoritiesFrom Sight and Sound: “Her films challenge contemporary life in a profound and uncomfortable way. Muratova always held her finger on the pulse, or rather poked it into the open wounds – such deep-rooted flaws of human nature as evil and cruelty. Muratova's films possessed an inimitable lightness in a complex narrative fragmentation, seemingly stitched together with dialogues that expose the absurdity of speech.”Notable work:Brief Encounters (1967)Long Farewells (1971)Three Stories (1997)Second Class Citizens (2001)Alexander Dovzhenko:Import Soviet filmmaker alongside Sergei Eisenstein, Dziga Vertov, and Vsevolod Pudovkin. His film Earth (1930) is a must see!Alexander Rodnyansky:From Kyiv. Director of Leviathan (2014)Oleg Sentsov:Rhino (2019)Second Class Citizens (2001)Valentyn Vasyanovych:The Tribe (2014) – A MUST SEE FILM!Atlantis (2019)Reflection (2021)Maryna Er Gorbach:Klondike (2022) – released this yearNatalia Vorozhbyt:Bad Roads (2020)Nariman Aliev:Homeward (2019)Iryna Tsilyk:The Earth is Blue as an Orange (2020)Yuri Ilyenko:Cinematographer on Shadows of Forgotten Ancestors (Sergei Parajanov, 1965)The White Bird Marked with Black (1971)

Episode 88 features Kate Fowle, the Director of MoMA PS1. From 2013-2019 she was the inaugural chief curator at Garage Museum of Contemporary Art in Moscow and director-at-large of Independent Curators International (ICI) in New York, where she was the executive director from 2009-13. Prior to this she was the inaugural international curator at the Ullens Center for Contemporary Art in Beijing (2007-08). In 2002 she co-founded the Master's Program in Curatorial Practice for California College of the Arts in San Francisco, for which she was the Chair until 2007. Before moving to the United States, Fowle was co-director of Smith + Fowle in London from 1996-2002. From 1994-96 she was curator at the Towner Art Gallery and Museum in Eastbourne, East Sussex. Fowle's recent projects include solo exhibitions with David Adjaye, Rasheed Araeen, John Baldessari, Sammy Baloji, Louise Bourgeois, Marcel Broodthaers, Urs Fischer, Rashid Johnson, Irina Korina, Robert Longo, Anri Sala, Taryn Simon, Juergen Teller, and Rirkrit Tirivanija, as well as extended essays on Ilya Kabakov, Sterling Ruby, and Qiu Zhijie, and numerous extended articles on curating and exhibition histories. Fowle has written three books: Exhibit Russia: The New International Decade 1986-1996 (2016); Rashid Johnson: Within Our Gates (2016); and Proof: Francisco Goya, Sergei Eisenstein, Robert Longo (2017) Photo by James Hill MoMA Bio https://www.moma.org/about/senior-staff/kate-fowle PS1 https://www.moma.org/ps1 NYTimes https://www.nytimes.com/2021/09/14/arts/design/greater-new-york-new-museum-performa-biennial.html Artnet News https://news.artnet.com/art-world/art-world-works-home-kate-fowle-1892064 Architect Magazine https://www.architectmagazine.com/practice/kate-fowle-appointed-director-of-moma-ps1_o Call for Curators https://callforcurators.com/blog/kate-fowle-appointed-director-of-moma-ps1/ Auckland Art Gallery https://www.aucklandartgallery.com/page/judge-announced-for-the-walters-prize-2021-opening-this-weekend-at-auckland-art-gallery-toi-o-tamaki

Brian L. Frye is a law professor and filmmaker - and somewhere along the way, he decided to draw on the most interesting bits of both those endeavours and come up with an entirely different approach to his engagement with the law. He describes his work as "conceptual art in the medium of legal scholarship", wherein he challenges some of the most dearly-held commitments of the academy, including arguing that norms against plagiarism are illegitimate (indeed, he specifically encourages and authorizes people to plagiarize his work). Lately, he's taken to successfully selling his law review article art projects as NFTs. We talk about imagining Sergei Eisenstein, what he lifted from Isaiah Berlin, why law students say they don't like math but actually do, and what's been inspiring his most recent run of publications and interventions. You can follow Brian on Twitter @brianlfrye, check out some of his scholarship at SSRN, and listen to his podcast, Ipse Dixit, at https://shows.acast.com/ipse-dixit.

The crew of the Russian battleship Potemkin mutinied on the 27th June 1905, an uprising that was immortalized in Sergei Eisenstein's 1925 silent ...

Una mirada al cine a través de quien le otorgo un regalo al cine.

The SMC team (Connor Lloyd Crews, Edwin Gomez, Daniel Ott, Craig Hammill) return to their occasional series about elements of cinema. Today we discuss the art of editing, examples of great cuts in movies like Point Blank, The Wild Bunch, Raiders of the Lost Ark, Little Women, Hostel and great all-time editors like Dede Allen, Paul Hirsch, Sergei Eisenstein, Michael Kahn, Anne V. Coates among others. 

Seguimos explorando la relación entre estas dos disciplinas. En este episodio recomendamos: El documental Olympia de la directora Leni Riefenstahl https://youtu.be/3_v3V73aow8 La película ¡Que Viva México! Película de Sergei Eisenstein https://youtu.be/O7ekeFA_ecg La película Ya no estoy aquí de Fernando Frías https://youtu.be/ngl5wCDw840 --- Send in a voice message: https://anchor.fm/gin351s-navarro/message

In this snacky episode we breeze past the great Russian revolutionary filmmaker Sergei Eisenstein who gave us great cinema with - Battleship Potemkin, Alexander Nevsky and Ivan the terrible. You can find his complete films on Youtube. Email id: metaphysicallab@gmail.com/ whats app - 9324431451   Music- "Hard Boiled" by Kevin MacLeod (https://incompetech.com) License: CC BY (http://creativecommons.org/licenses/by/4.0/ You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For partnerships/queries send you can send us an email at bonjour@eplog.media.   DISCLAIMER: The views expressed on all the shows produced and distributed by Ep.Log Media are personal to the host and the guest of the shows respectively and with no intention to harm the sentiments of any individual/organization. See omnystudio.com/listener for privacy information.

Revolution is afoot when comrades Jana, Nick, and Dylan delve back 100 years ago to the Bolshevik Revolution in Sergei Eisenstein's prolific feature Battleship Potemkin and discuss the filmmaking and art that the film contains.

Esta semana en nuestra “Sección principal” os traigo a uno de los grandes maestros del cine. Al igual que en pasadas temporadas os he hablado de Charles Chaplin, de Fritz Lang, de Billy Wilder, de Elia Kazan o de Andrei Tarkovsky, en esta ocasión le toca al maestro Sergei Eisenstein. En la sección “El verso libre” traigo una canción en Euskera. Se trata de “Laztana” del ya desaparecido grupazo “Latzen”. Este tema pertenece a sus álbum de 1996 “Kontzientzia Ala Infernua” y como siempre, primero os leeré la letra en euskera, luego en castellano y finalmente sonará la potente voz del cantante Aitor Uriarte. En la sección “A golpes de realidad” os traigo toda la actualidad social y política de la semana a través de nuestro bloque dedicado a la violencia de género, nuestro apartado de violencia hacia los menores, el bloque internacional o la actualidad política patria repleta de corrupción política y de terrorismo de estado. Finalmente en la sección “¿Qué fue de?” os hablo en esta ocasión de Bertha von Suttner, activista incansable en defensa del pacifismo, el trabajo realizado a lo largo de su vida por Bertha von Suttner a favor de la paz fue lo que inspiró al filántropo sueco a la creación del Nobel de la Paz. Tiempos: Sección principal: del 00:02:35 al 02:10:00 Sección “El verso libre”: del 02:25:51 al 02:33:45 Sección “A golpes de realidad”: del 02:34:28 al 04:04:38 Sección “¿Qué fue de?”: del 04:05:47 al 05:00:36 Presentación, dirección, edición y montaje: Asier Menéndez Marín Diseño logo Podcast: albacanodesigns (Alba Cano) Diseño logo Canal: Patrick Grau Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Se cumplen 70 años del fallecimiento de uno de los grandes colosos de la historia del cine: el director soviético Sergei Eisenstein

Celebramos dos aniversarios: los 50 años del estreno de ‘El planeta de los simios' y los 70 de la muerte del director Sergei Eisenstein. Homenaje también al desaparecido Reyes Abades y en la sección de terror hablamos de ‘La mujer y el monstruo'

The Moorside, which airs on BBC1 at 9pm tonight, is a drama about events surrounding the disappearance of nine year old Shannon Matthews in 2008. Starring Sheridan Smith as Julie Bushby, the woman who orchestrated the hunt for Shannon and Gemma Whelan as Shannon's mother Karen, who was eventually found guilty of the kidnap and false imprisonment of her daughter, the programme has been criticised by some as inappropriate subject matter for a TV show. Executive producer Jeff Pope defends the making of The Moorside and discusses the ethics and challenges of turning real-life events into drama.In 20th Century Women, Annette Bening stars as a freethinking Santa Barbara mother who enlists the help of two young women in raising her adolescent son during a period of cultural and social turmoil. Film critic Jenny McCartney reviews.To mark the centenary of the Russian Revolution, Front Row has asked figures from the arts world to champion their favourite work, inspired by events in 1917. Today, film director Peter Greenaway makes the case for Sergei Eisenstein's Battleship Potemkin.As a new contemporary staging of George Bernard Shaw's Pygmalion opens at the West Yorkshire Playhouse, Samira met the team behind the production - director Sam Pritchard, sound designer Max Ringham, lead actors Alex Beckett and Natalie Gavin- to discover why they think Shaw's ideas about language and accent as a repository of class and power remain just as relevant in 2017 as they were when the play premiered just over a century ago.Presenter : Samira Ahmed Producer : Ella-mai Robey.

Peter Greenaway on Eisenstein in Guanajuato; the first in a trilogy of films about his all-time cinema idol, Sergei Eisenstein. The British director, now expatriated to Holland, describes tackling the sexual awakening of one of Russia's national heroes, how films should be led by image and not text, and why he thinks provocation in art is so important.The talk of the London Book Fair is a former management consultant who has landed a series of deals worth millions of pounds. Chloé Esposito gave up her job last summer to take a writing course and now has signed deals with publishers around the world for a trilogy of books.As part of Front Row's Shakespeare's People series, Zoe Wanamaker chooses Emilia from Othello, a maid and companion to Desdemona and the wife of Iago.The artist George Shaw, who grew up on a council estate in Coventry, is coming to the end of a two-year residency in a studio at the heart of the National Gallery in London. As he prepares for his new exhibition he explains how the collection has inspired him, and why his medium of choice is the enamel paint children use for plastic aircraft models.Presenter: John Wilson Producer: Angie Nehring.

Anne McElvoy investigates the role of culture within historic Soviet expansionism and current Russian geopolitics. She talks to Charles Clover, author of Black Wind, White Snow: The Rise of Russia's New Nationalism about Eurasianism, an old idea with considerable traction in Putin's Russia and why bad ideas tend to win out over good ones . Historian Polly Jones, author of Myth Memory Trauma: Rethinking the Soviet past, 1953-70 and Clem Cecil, in-coming Director of Pushkin House, are in the studio to discuss the extent of Soviet interest in soft power alongside Mark Nash, curator of Red Africa and Ian Christie, co-curator of Unexpected Eisenstein, two new exhibitions in London. The continuing cultural legacy of Cold War relations between the Soviet Union and Africa is the subject of Red Africa, a season of film, art exhibition, talks and events, runs at Calvert 22 in London while at the same time Unexpected Eisenstein, a new exhibition at GRAD gallery in London, tells the story of the anglophile tendencies of a the great Soviet film-maker, Sergei Eisenstein. Eisenstein, whose epic and patriotic films Battleship Potemkin, Alexander Nevsky and Ivan the Terrible, together constitute a visual retrospective of Russian power, was himself hugely influenced by British writers from Shakespeare to Dickins. But as Anne McElvoy hears, the director went on to influence generations of British artists and film-makers, one legacy of his six-week sojourn in London in 1929. It was, as Christie explains, a trip ordered but not precisely sponsored, by Stalin. Producer: Jacqueline Smith

Stella Duffy reviews Julianne Moore and Ellen Page in Freeheld, based on the true story of lesbian police detective's struggle to have her pension transferred to her domestic partner after she is diagnosed with cancer. Novelist Anna Hope discusses her new book, The Ballroom, a love story set in an asylum in Yorkshire in 1911 and set against a backdrop of changing attitudes towards poverty and mental illness. Singer and multi-instrumentalist Jack Garratt on his début album, Phase. Film historian Ian Christie shows Samira around his new exhibition of previously unseen drawings by pioneering Soviet film maker Sergei Eisenstein. Presenter: Samira Ahmed Producer: Jack Soper.

For this year's Labor Day episode, Mike and Sean take a look at a pair of movie about the organization and collective action of workers, Sergei Eisenstein's 1925 debut feature Strike and John Sayles's acclaimed 1987 film Matewan. They also pick their Cinemassential Films About Work, celebrate the career of the hard-working filmmaker Werner Herzog, rail against the travesty that is aspect-ratio cropping and discuss the latest essay from Professor David Bordwell.

How great artists and thinkers responded to the First World War in individual works of art and scholarship7.Ian Christie on Sergei Eisenstein's Battleship PotemkinFor Russians of Sergei Eisenstein's generation, the experience of the First World War was overtaken by the revolution of 1917, which took Russia out of the war and plunged it into a bitter civil war from which the infant Bolshevik Soviet state emerged. Eisenstein seized the opportunity of serving in the Red Army in order to become a radical theatre director, which led him into film as part of the first generation of Soviet film-makers who would astonish the world in the late 1920s with films like The Battleship Potemkin and October. These films would shape the cultural and political landscape of the interwar years - championed by those who wanted to condemn the Great War as an imperialist struggle, and also foreshadowing the Second World War, as in Eisenstein's Alexander Nevsky. The distinguished film historian Ian Christie untangles this complex story.Producer Beaty Rubens Producer : Beaty Rubens.