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“... But​ where does the Potemkin go?’ That, according to Sergei Eisenstein, was what the people who had just seen his most famous film really wanted to know. At the climax of the film, the battleship’s mutinous crew, having got rid of all its officers and intervened decisively in the first stirrings of revolt in the Black Sea town of Odessa, head out of harbour to confront the rest of the imperial fleet, which has assembled to block their escape ...”

“... In his own words ‘a queer fish’, Sergei Eisenstein declares at one point in this 1946 memoir that he worked amphibiously, by extremes. ‘I create an arbitrary and capricious flood in my films. Then I endeavour to divide this flood with the dry beats of a metronome, according to its conformity with certain principles ...”

“... Writing his memoirs in 1946, two years before his death, Sergei Eisenstein declared that he had ‘been fascinated by bones and skeletons since childhood’. His first experience of film involved watching a flying skeleton horse pull a bewitched carriage across the sky, in Georges Méliès’s Les 400 Farces du diable ...”

“... make them look rich and friendly – but that was certainly my response to two recent viewings of Eisenstein’s Battleship Potemkin (1925), to be screened again at the BFI Southbank from 29 April. Of course the words that look poor here are quite particular: the weakly loaded phrases of the screenplay; the large abstractions of propaganda; the miniature ...”

“... new film, The Dead Don’t Hurt, are like an essay in montage or a puzzle for students of Sergei Eisenstein and André Bazin. A knight in armour rides a horse through a forest. A woman lies in bed. There is a shoot-out in a small Western town. How are we to put these pictures together? Mortensen is not going to help us. He gives us lots more ...”

“... and fake-perspective structures’.) Disney’s last and most loyal intellectual champion was Sergei Eisenstein, then regarded by many as the world’s foremost film-maker and, certainly, its leading film intellectual. Eisenstein, too, had fallen under the spell of the early Disney cartoons, whose use of ...”

“... juxtaposing two film images to produce a meaning or effect not present in either so electrified Sergei Eisenstein. The fact that Eisenstein claims to have discovered the principle of montage after studying the workings of Chinese ideograms would have gladdened Wang Bi’s heart. As for me, a long-time enthusiast of ...”

“... was advanced by Aleksandr Rodchenko, El Lissitzky and Gustav Klutsis, as well as his friend Sergei Eisenstein), he effectively triangulated the two groups, and the murals he made on his return to Mexico in 1928 combine photographic effects such as cropped figures and massed groups with Socialist Realist motifs like bright flags and cheery ...”

“... At the time, The Birth of a Nation appeared to epitomise modernity. But to understand Griffith, Sergei Eisenstein wrote, ‘one must visualise an America made up of more than visions of speeding automobiles, streamlined trains, racing ticker tape, inexorable conveyor belts. One is obliged to comprehend this second side of America as well ...”

“... geometric designs for a ship’s rigging in a production of The Flying Dutchman, just as Sergei Eisenstein and Vsevolod Meyerhold strived to translate Wagnerian aesthetic ideas onto the screen and the Mariinsky stage respectively. Siegfried’s funeral march was played at a concert marking Lenin’s death. It took Operation Barbarossa to kill ...”

“... aesthetic. But esoterica can be blatant too: the Tingler had a distant precursor in the fireworks Sergei Eisenstein set off beneath the seats in the auditorium during one of the productions he staged for the Proletkult Theatre in Moscow in the early 1920s.Vladimir Nabokov’s transition from Russian to English-language writer involved a reappraisal of ...”

“... of Khrushchev, which is where he came in. He took issue with the most celebrated Soviet filmmaker, Sergei Eisenstein. For Tarkovsky, time imprinted in the moving image is the lifeblood of cinema, and montage – quick, abrupt, assertive editing – breaks up its flow: ‘In Eisenstein’s films individual shots do not ...”

“... as the trusted confidante of two experimental European directors courted by Hollywood: Murnau and Sergei Eisenstein. Murnau was gay, and the often malicious gossip about him found much to feed on in the mysterious circumstances surrounding his death in 1931 from injuries sustained in a car crash. Garbo was one of only eleven mourners at his ...”

“... artists who gathered at her Sunday afternoon salon. Thomas Mann, Aldous Huxley, W.H. Auden, Sergei Eisenstein, Hanns Eisler, Arnold Schoenberg, Lionel Feuchtwanger, Franz Werfel and Bertolt Brecht rubbed shoulders with Peter Lorre, Charles Laughton, Orson Welles, Jean Renoir, Marlene Dietrich, Charlie Chaplin, Harpo Marx and many others. Brecht and ...”

“... while celebrating the subversive effect of U2. Later, when I went to film school and discovered Eisenstein, I realised that revolution had altered the way things looked: that all those CNN and BBC montages with their close-ups of ‘ordinary’ people on the revolutionary streets of Berlin, Moscow and Bucharest, and their stirring music, could have been ...”