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The Battleship Potemkin

Author : Richard Taylor
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Thought by many to be the greatest film ever made, "The Battleship Potemkin" directed by Sergei Eisenstein is a key film in the history of Russian and world cinema. Based on a mutiny in Odessa during the 1905 revolution, the film is noted as a pioneering milestone in the development of world cinema—especially Eisenstein's breathtaking editing.

The Battleship Potemkin

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THE MOST INFLUENTIAL SILENT FILM OF ALL TIME! Based on the historical events the movie tells the story of a riot at the battleship Potemkin. What started as a protest strike when the crew was given rotten meat for dinner ended in a riot. The sailors raised the red flag and tried to ignite the revolution in their home port Odessa.

The Battleship Potemkin

Author : Keith Withall
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This York Film note discusses the film from a broad academic and critical perspective, setting plot, themes and techniques in context and exploring the film's significance. The book encourages students to appreciate differing interpretations of each film and to develop their own critical thinking. Key Features *Film Reviews *Background to the film *Biographies of key players *Form and Narrative *Style and Technique *Culture and cinematic contexts *Bibliography for further study *Glossary of cinematic terms

The Battleship Potemkin

Author : Sergei Eisenstein
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Battleship Potemkin U S S R 1925

Author : Seymour Benjamin Chatman
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Battleship Potemkin

Author : Richard Taylor
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Thought by many to be the greatest film ever made, 'The Battleship Potemkin' directed by Sergei Eisenstein is a key film in the history of Russian and of world cinema. Based on a mutiny in Odessa during the 1905 Revolution, the film is noted as a pioneering milestone in the development of world cinema - especially Eisenstein's breathtaking editing. Richard Taylor is a major authority on Eisenstein and his lively companion to Potemkin will be widely welcomed. This _KINOfile_ investigates the production, context and critical reception of the film and the people who made it, and provides an analysis of the film itself and its place in Russian and world cinema.

Red Mutiny

Author : Neal Bascomb
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In 1905 more than seven hundred Russian sailors mutinied against their officers aboard the battleship Potemkin, one of the most powerful battleships in the world. Led by the charismatic firebrand Matyushenko, they risked their lives to take control of their ship and fly the red flag of revolution. What followed was a violent port-to-port chase that spanned eleven harrowing days and came to symbolize the Russian Revolution itself. This pulse-pounding story alternates between the opulent court of Nicholas II and the drama on the high seas. Neal Bascomb combines extensive research and fresh information from Soviet archives to tell the true story of the deadliest naval mutiny in history. Red Mutiny is a terrific adventure filled with epic naval battles, heroic sacrifices, treachery, bloodlust, and the rallying cries of freedom.

Battleship Potemkin October and Alexander Nevsky

Author : Sergei Eisenstein
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1925 in Film 1925 Films the Battleship Potemkin the Gold Rush Grass the Big Parade Lady Windermere s Fan

Author : Books Llc
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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 97. Chapters: 1925 films, The Battleship Potemkin, The Gold Rush, Grass, The Big Parade, Lady Windermere's Fan, Theodore Case Sound Test: Gus Visser and His Singing Duck, Riders of the Purple Sage, The Phantom of the Opera, Charley's Aunt, The Lost World, Wizard of Oz, Ben-Hur, Strike, Don Q, Son of Zorro, Tumbleweeds, Faces of Children, The Monster, The Freshman, Smouldering Fires, Feu Mathias Pascal, The Rat, Seven Chances, Body and Soul, The Plastic Age, The Air Mail, List of American films of 1925, French films of 1925, Joyless Street, The Sporting Venus, That Royle Girl, Dr. Pyckle and Mr. Pryde, The Unholy Three, Cobra, Lady of the Night, Sally of the Sawdust, The Pleasure Garden, Prem Sanyas, Italian films of 1925, Ways to Strength and Beauty, Das Spielzeug von Paris, Raffles, The Salvation Hunters, Coraz n Aymara, Chu-Chin-Chow, The Eagle, Fifty-Fifty, Pretty Ladies, El H sar de la Muerte, Wolf Blood, The Lady, The Midnight Girl, Clothes Make the Pirate, The Merry Widow, Variet, The Great Divide, Perils of the Wild, The Half-Way Girl, Too Many Kisses, The Thundering Herd, The Circle, Chess Fever, Daddy's Gone A-Hunting, Du skal re din hustru, The Red Kimona, Dog Days, One Wild Ride, His Supreme Moment, A Thief in Paradise, Soul Mates, La Fille de l'eau, Old Clothes, The Mystic, The Love Bug, His Call, The Tower of Lies, Boys Will Be Joys, Lights of Old Broadway, A Slave of Fashion, Sally, Irene and Mary, The Goose Woman, Official Officers, Lightnin', Poppy, Declassee, The Vanishing American, Ace of Spades, A Woman of the World, Go West, Lord Jim, The Masked Bride, The Tailor from Torzhok, Mary, Queen of Tots, The Denial, The White Desert, Shootin' Injuns, Beggar on Horseback, Les Mis rables, Never the Twain Shall Meet, Zander the Great, The Great Circus Mystery, Soul-Fire, The Way of a Girl, Shore Leave, Little Annie Ro...

Eisenstein at 100

Author : Albert J. LaValley
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Like many other figures once closely associated with the Soviet state, the great Russian filmmaker Sergei Eisenstein has become the subject of renewed interest. A decade after the fall of the Soviet Union, and with fresh material on his life and art now available, a more complex picture of Eisenstein is emerging. This collection-featuring the work of major film theorists and Russian scholars-offers the first post-Soviet reconsideration of Eisenstein's contribution to world cinema. The contributors address themes previously avoided by Soviet critics, such as sexuality, religion, gender, and politics, in The Battleship Potemkin, October, Alexander Nevsky, and Ivan the Terrible. These films and others are also reassessed in light of a more thorough knowledge of Eisenstein's life and of the complicated historical, cultural, and political contexts in which he worked. Of particular concern here is Eisenstein's struggle with Soviet censorship, which resulted in a tenuous balance between the pressures of the state and his goals as an artist. Essays explore the manner in which Eisenstein's later theoretical writings reveal continuity with the more well known earlier work, issues of historical revisionism, and the relationship between autobiography and the films. Eisenstein's undeniable influence on his contemporaries and subsequent generations, as well as his reception by the film community and the public, are illuminated. Rather than fostering the popular image of Eisenstein as the "inventor" of film montage, the director of Potemkin, and the enthusiastic early supporter of the Bolsheviks, Eisenstein at 100 presents a much richer and more profound picture of Eisenstein the man, the director, and the film theorist.

Kuleshov on Film

Author : Lev Kuleshov
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Lev Kuleshov (1899–1970) was the first aesthetic theorist of the cinema. An outstanding figure in the “montage” school, he was a key influence on Eisenstein and Pudovkin. Kuleshov was the first to see clearly that montage—the assemblage and alternation of shots—was the very essence and structure of cinematic expression, often overriding the significance of the content of the shots themselves. Deriving his insights from close study of American films (particularly D. W. Griffith’s), Kuleshov used his experience in prerevolutionary Russian films and his wartime efforts in Soviet documentaries to conduct experiments in film acting and montage. He developed an editing method later referred to as the “Kuleshov effect” that juxtaposed shots to evoke new meanings from the combinations. In one experiment, he intercut identical shots of an actor’s neutral face with shots of a bowl of soup, a child in a coffin, and a sunny landscape to evoke different emotional responses from the audience. Kuleshov also “synthesized” a nonexistent woman from close-ups of different parts of several women and created artificial landscapes by intercutting shots of locations separated by great distances. Kuleshov taught at the Soviet film school and was a well-known director of features, and Kuleshov on Film contains essays on both the theoretical and practical sides of filmmaking. Influenced by Futurism, Russian Formalism, and structural linguistics, Kuleshov’s analysis can now be seen as semiotic, presaging studies of film as a system of signs. As a Marxist and structuralist, Kuleshov examined form and content with a materialist approach. The translator’s extensive introduction discusses Kuleshov’s use of signs, typage, and other structuralist concepts and places him in the development of semiotic thought. It also provides intriguing biographical detail on Kuleshov’s conflicts with advocates of “socialist realism,” who attempted to stamp out the artistic and theoretical innovations of the early revolutionary years, and establishes Kuleshov’s position as one of the great figures in the evolution of film. Kuleshov on Film is essential reading for everyone seriously concerned with the cinema. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1974.

Congressional Record

Author : United States. Congress
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United States Congressional Serial Set

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Paulo Em lio Salles Gomes

Author : Maite Conde
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Paulo Emílio Salles Gomes (1916–77) is revered in Brazil as the first ardent defender, promoter and theorist of Brazilian cinema. A film professor, critic and historian, his dedication to cinema shaped a generation of influential film critics in his home country, and set the foundations for the serious study of film in Brazil. For the first time in English, this book brings together a selection of his essays for an English-speaking audience, with detailed explanatory introductions to each section for readers unfamiliar with the context of the writings of Salles Gomes. By blending together ruminations on global and national cinema, as well as avant-garde film and popular movies, the collection shows how the defence and promotion of a national cinema has been forged through dialogues with international trends, informed by commercial influences, and shaped by global and national political contexts. The book thus introduces readers to the international dimensions of Salles Gomes’s engagements with film, and in doing so reassesses the locatedness of his formulations on national cinema and signals their international dimensions.

The Eisenstein Reader

Author : Sergei Eisenstein
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For the first time in one volume, this book presents in concise, chronological form, Sergei Eisenstein's most significant work, including his famous theories of montage and articles on subjects as diverse as sound, film language and Russian history. The selection ranges from early writings on his silent masterpieces The Strike, October and The Battleship Potemkin, to later works, hatched in the hostile and paranoid environment of Stalin's Soviet Union. Drawn from the acclaimed four-volume Selected Works, this collection, which includes a new introduction and explanatory notes by Richard Taylor as well as many illustrations, further illuminates the startling originality, diversity and power of the greatest and most flamboyant of all Russian film-makers. Legendary director Sergei Eisenstein has emerged as cinema's most influential theorist and author of some of the most important aesthetic writings of the twentieth century.

The Potemkin Mutiny

Author : Richard Hough
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Hailed as an important contribution both to history and to sea literature when first published in 1961, The Potemkin Mutiny gives a dramatic blow-by-blow account of the June 1905 mutiny on board the Russian battleship Potemkin. The revolt, immortalized in Sergei Eisenstein's famous motion picture, was considered by the Soviets a glorious moment in the people's fight against a tyrannical czarist government. Richard Hough chronicles events from the first rumblings of discontent to the closing scenes of the uprising that nearly brought about the Russian Revolution twelve years early. His balanced account depicts the protagonists not as symbols but as human beings reacting under powerful tensions.

The Macmillan Dictionary of Films and Filmmakers Films

Author : Christopher Lyon
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Why Docudrama

Author : Alan Rosenthal
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Rosenthal notes that docudrama wields more influence than the documentary and that ""reality-based stories taken from topical journalism are the most popular drama genre on US and British television today"". This collection of essays addresses the dominant questions and controversies of the genre.

Films about Mutinies

Author : Books LLC
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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Commentary (films not included). Pages: 22. Chapters: The Battleship Potemkin, The Caine Mutiny, The Bounty, Amistad, Crimson Tide, Mutiny on the Bounty, Space Mutiny, In the Wake of the Bounty. Excerpt: The Caine Mutiny is a 1954 American drama film set during World War II, directed by Edward Dmytryk and produced by Stanley Kramer. It stars Humphrey Bogart, Jos Ferrer, Van Johnson and Fred MacMurray, and is based on the 1951 Pulitzer Prize winning novel by Herman Wouk The Caine Mutiny. The film depicts a mutiny aboard a fictitious World War II U.S. Navy destroyer minesweeper, the Caine, and the subsequent court-martial of two officers. Callow, rich Ensign Willis Seward "Willie" Keith (Robert Francis) reports for duty aboard the Caine, his first assignment out of officer candidate school. Homeported in Pearl Harbor, he is disappointed and horrified to find the Caine to be a small, battle-scarred destroyer-minesweeper. Its gruff captain, Lieutenant Commander William H. DeVriess (Tom Tully), has almost completely discarded spittle-and-polish discipline, and the crew of the Caine has become slovenly and superficially undisciplined - although their performance of their duties is, in fact, excellent. Keith has already met the executive officer, Lieutenant Stephen Maryk (Van Johnson), and is introduced to the cynical communications officer, novelist LT Thomas Keefer (Fred MacMurray), who refuses to equate the Caine with the rest of the Navy. The captain is soon replaced by a 1936 graduate of the U.S. Naval Academy, Lieutenant Commander Phillip Queeg (Humphrey Bogart), a no-nonsense veteran who has seen years of stressful duty in the Atlantic Fleet, LCDR Queeg having served on convoy duty in the North Atlantic against the German Navy. Queeg quickly attempts to re-instill discipline into the crew, warning: "here are four ways of doing things: ...

Eisenstein Cinema and History

Author : James Goodwin
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Among early directors, Sergei Eisentein stands alone as the maker of a fully historical cinema. James Goodwin treats issues of revolutionary history and historical representation as central to an understanding of Eisentein's work, which explores two movements within Soviet history and consciousness: the Bolshevik Revolution and the Stalinist state. Goodwin articulates intersections between Eisentein's ideas and aspects of the thought of Walter Benjamin, Georg Lukács, Ernst Bloch, and Bertolt Brecht. He also shows how the formal properties and filmic techniques of each work reveal perspectives on history . Individual chapters focus on Strike, Battleship Potemkin, October, Old and New, projects of the 1930s, Alexander Nevsky, and Ivan the Terrible.