Even in a less exaggerated description, any verbal account of a person is bound to find itself employing an assortment of waterfalls, lightning rods, landscapes, birds, etc.
Catalog
Sergei Eisenstein
Sergei Mikhailovich Eisenstein (Russian: Сергей Михайлович Эйзенштейн, IPA: [sʲɪrˈɡʲej mʲɪˈxajləvʲɪtɕ ɪjzʲɪnˈʂtʲejn]; 22 January [O.S. 10 January] 1898 – 11 February 1948) was a Soviet film director and film theorist, a pioneer in the theory and practice of montage. He is noted in particular for his silent films Strike (1925), Battleship Potemkin (1925) and October (1928), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1944, 1958). 2Life and career 3Early years Eisenstein was born to a middle-class family in Riga, Latvia (then part of the Russian Empire in the Governorate of Livonia), but his family moved frequently in his early years, as Eisenstein continued to do throughout his life. His father, Mikhail Osipovich Eisenstein was born to a German Jewish father who had converted to Christianity, Osip Eisenstein, and a mother of Swedish descent. His mother, Julia Ivanovna Konetskaya, was from a Russian Orthodox family. According to other sources, both of his paternal grandparents were of Baltic German descent. His father was an architect and his mother was the daughter of a prosperous merchant. Julia left Riga the same year as the Russian Revolution of 1905, taking Sergei with her to St. Petersburg. Her son would return at times to see his father, who joined them around 191
Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects? Language is much closer to film than painting is.
It is the task of art to reveal the contradictions of being.
In themselves, the pictures, the phases, the elements of the whole are innocent and indecipherable. The blow is struck only when the elements are juxtaposed into a sequential image.
Cinema is the heir of all artistic cultures, as is the nation itself that elevated it for the first time in all history – both in estimation and creatively – to the very heights of art, and it is the heir of all cultures of the preceding ages.
The hieroglyphic language of the cinema is capable of expressing any concept, any idea of class, any political or tactical slogan, without recourse to the help of a rather suspect dramatic or psychological past.
Language is much closer to film than painting is.
Human expression is a conflict between conditioned and unconditioned reflexes.
The profession of film director can and should be such a high and precious one; that no man aspiring to it can disregard any knowledge that will make him a better film director or human being.
American capitalism finds its sharpest and most expressive reflection in the American cinema.