Eduard Tisse & Sergei M. Eisenstein - Frauennot - Frauenglück (1930)

Description:
This short film shows the contrast between the good conditions in which a rich woman makes a abortion and the miserable and dangerous condition in which a poor woman has to do an abortion.







http://rapidshare.com/files/252946290/Misery_and_Fortune_of_Woman_.part1.rar.html
http://rapidshare.com/files/252954891/Misery_and_Fortune_of_Woman_.part2.rar.html
http://rapidshare.com/files/252955539/Misery_and_Fortune_of_Woman_.part3.rar.html

Language: English Intertitles
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Sergei M. Eisenstein - Mei LanFang performing (1935)

Description: When in 1935 Mei LanFang performed in the former USSR he changed the theatrical point of view of the most important creators of that land. Eisenstein, among those creators amazed by this Chinese Star and crazy about excentric moments and people in history, decided to take advantage of Mei LanFang visit and asked him for a special session of filming on March 29th, 1935; the result was 5 minutes of film Mei LanFang performing his Beijing Opera new style; although the film projected by Einsentein never was finished, it is an invaluable visual material.

This sequence is only a 34 seconds short footage extracted from a Chinese documentary.

http://rapidshare.com/files/223209690/SMEMLF1935.rar
Language: Silent
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Sergei M. Eisenstein & Grigori Aleksandrov - Staroye i novoye AKA Old and New (1929)

REVIEW by Jonathan Rosenbaum (from The Chicago Reader):

This is the most neglected of Sergei Eisenstein's features, his last completed silent picture (1929), also known as The Old and the New. It's a bucolic epic about the Soviet struggle to collectivize agricultural production, and it's far from his least interesting or exciting film, though some critics have made it sound that way by noting that the most famous sequence involves a cream separator. For the record, it is a thrilling sequence--part of Kenneth Anger's Eaux d'artifice is modeled directly after it--but it's far from the only thing this rich, poetic, and sometimes quite funny film has to offer. Recommended.












http://rapidshare.com/files/164121106/Staroe.i.novoe.-.Generalnaja.linija.1929.part01.rar.html
http://rapidshare.com/files/164129460/Staroe.i.novoe.-.Generalnaja.linija.1929.part02.rar.html
http://rapidshare.com/files/164148332/Staroe.i.novoe.-.Generalnaja.linija.1929.part03.rar.html
http://rapidshare.com/files/164154055/Staroe.i.novoe.-.Generalnaja.linija.1929.part04.rar.html
http://rapidshare.com/files/164159534/Staroe.i.novoe.-.Generalnaja.linija.1929.part05.rar.html
http://rapidshare.com/files/164164883/Staroe.i.novoe.-.Generalnaja.linija.1929.part06.rar.html
http://rapidshare.com/files/164169781/Staroe.i.novoe.-.Generalnaja.linija.1929.part07.rar.html
http://rapidshare.com/files/164174287/Staroe.i.novoe.-.Generalnaja.linija.1929.part08.rar.html
http://rapidshare.com/files/164178814/Staroe.i.novoe.-.Generalnaja.linija.1929.part09.rar.html
http://rapidshare.com/files/164182962/Staroe.i.novoe.-.Generalnaja.linija.1929.part10.rar.html
http://rapidshare.com/files/164183120/Staroe.i.novoe.-.Generalnaja.linija.1929.part11.rar.html

http://www.megaupload.com/?d=E9O44KC5
http://www.megaupload.com/?d=WZGT5VPS
http://www.megaupload.com/?d=VK36F4CF
http://www.megaupload.com/?d=6YTBYNAX
http://www.megaupload.com/?d=NOP2EI52
http://www.megaupload.com/?d=V6O3W3YW
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http://www.megaupload.com/?d=Q49G9U50
http://www.megaupload.com/?d=8LP23OU6
http://www.megaupload.com/?d=17F1DECP
http://www.megaupload.com/?d=Y60WAI13

Subtitles:
http://rapidshare.com/files/164183123/Staroe_i_Novoe.srt

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Sergei M. Eisenstein - La Destrucción de Oaxaca (1931)

Description: Footage of the aftermath of the January 14 1931 Earthquake in Oaxaca, Mexico.












http://www.megaupload.com/?d=CYWC4ZQ4

eng subs:
http://rapidshare.com/files/415396803/8747_100427063337.zip.html
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http://rapidshare.com/files/181370216/El_desastre_en_Oaxaca__Sergei_Eisenstein__1931_.part1.rar
http://rapidshare.com/files/181529781/El_desastre_en_Oaxaca__Sergei_Eisenstein__1931_.part2.rar

eng subs:
http://rapidshare.com/files/415396803/8747_100427063337.zip.html
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Sergei M. Eisenstein - The psychology of composition (1988)

'Watson and Scotland Yard always work along the line of direct
logic, Sherlock Holmes works not by logic, but by dialectics'. This
dialectics, in its turn, draws on 'the whole fund of prelogical,
sensuous thought' that 'serves as a fund of the language of form' that
Eisenstein defines as 'readable expressiveness'. Eisenstein's
elaborate study of a method of art rooted in 'the twilight stage of
primitive thought' moves from folk tales to Shakespeare, Balzac,
Gogol, Tolstoi, Dostoevsky, and Mayakovsky, to come eventually to
the detective story, 'the most effective genre of literature' and 'the
most naked expression of bourgeois society's fundamental ideas on
property', as it is told by Poe, Chesterton, Dorothy Sayers, Ellery
Queen, and Hitchcock in Spellbound.
Writing while he was making Ivan, Eisenstein opens up, in his
characteristic manner, a whole area of thinking on 'the psychology
of composition'. Published in English for the first time, these lectures
and lecture notes have been assembled and translated by Jay Leyda
and Alan Upchurch.

CONTENTS

Introductory Note
The Psychology of Art
Conspectus of Lectures on the Psychology of Art
The Psychology of Composition
On the Detective Story
Appendix. Lectures on Literature
Notes and Commentary
Index

http://rapidshare.com/files/304902306/Eisenstein.The.psychology.of.composition.pdf

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Sergei M. Eisenstein - Sergei Eisenstein and Montage ()

14 pages about Sergei Eisenstein and Montage.

http://www.megaupload.com/?d=1RZT5S0R
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Sergei M. Eisenstein - Bezhin lug AKA Bezhin Meadow (1937)

This short film is only still-image restoration of an unfinished film.

What is one to make of Bezhin Meadow? What is one to make of Sergei Eisenstein? The questions are in many ways the same as this film maudit and its maker are in much the same boat these days – lost to history both artistic and political. Filmed between 1936 and 1937 Bezhin Meadow was to signal Eisenstein's return to the Soviet fold after his sojourn in America and the debacle of Que Viva Mexico. What resulted was an even greater debacle in that no sooner had the film neared completion than it was attacked and banned from view – with Eisenstein contributing to the banning by penning an essay in which he 'confessed' to the 'mistakes' of Bezhin Meadow. Finally adding injury to insult, the sole surviving print of Bezhin Meadow was destroyed – supposedly in a bombing raid during World War II, but just as likely burned outright. Then around 1968 a 'reconstruction' of the film was engineered when splices from the editing table, saved by Eisenstein's wife, Pera Attasheva, were discovered. Cobbled together with a track of Prokoviev music, intertitles fashioned from the original script and cutting continuity and a brief spoken introduction, it exists today as a 35-minute silent film-cum-slide show. Of obvious interest to film scholars, and doubtless pleasing to those who share Roland Barthes' preference for still images over moving ones, Bezhin Meadow once again begs the question of Eisenstein's actual value – once the myth of the Great-Individual-Artist-Suffering-at-the-Hands-of-Stalin is scraped away. For all the ups and downs of his career Eisenstein was always Stalin's favorite filmmaker, never meeting the fate of his teacher Vsevolod Meyerhold. Internationally celebrated, a linchpin of Soviet propaganda, photographed more than any other director in the history of the cinema, Eisenstein was a Movie Star – first, last and always.

While his theories of 'montage' have kept theorists busy for decades, they were merely matters of convenience to him – abandoned by and large by their 'master' when sound arrived with Alexander Nevsky and Ivan the Terrible, with spectacle films becoming his abiding interest. Whether Bezhin Meadow would have joined their company is difficult to say, for what survives here boasts much the same keen compositional sense as is displayed in his silent works The Battleship Potemkin, October, The General Line and Que Viva Mexico!, and little of the homoeroticism that Nestor Almendros rightfully claims remains as Eisenstein's chief source of interest today.

Inspired by a story by Isaac Babel, Bezhin Meadow was designed to celebrate the 'Young Pioneers,' a Soviet propaganda conceit confected to exploit the image, but not the reality, of Russian youth. The plot, such as it is concerns a boy names Stepok (the 11-year-old Vitya Kartashov) who escapes from his psychotic father (Boris Zakhava) – who has already murdered his mother – to become a heroic 'Young Pioneer' leader, helping his village defeat a group of saboteurs out to destroy the harvest of the collective farm. But while easily scotching these villains, the boy is unable to stave off his father, who murders him – thus producing for Eisenstein a corpse to lavish his sentimental/cinematic attention over (like the sailor in The Battleship Potemkin, the long-haired girl in October, or Vladimir in Ivan the Terrible). As a result, instead of a tale of Soviet triumph the film becomes rural domestic tragedy.

“On March the 17th, 1937,” biographer Marie Seton reports
the production of Bezhin Meadow was halted by the 'Central Adminstration of the Cinema Industry.' Two million roubles had already been spent. The decision was followed by an article in Pravda written by Boris Shumyatsky. It charge[d] that Eisenstein, who had made a statement rejecting his former aesthetic principles and who had expressed his intention to work along the lines of social-realism, had misused his creative opportunity.

Eisenstein later made his own mea culpa. “What caused catastrophe to overtake the picture I had worked on for two years? What was the mistaken viewpoint which, despite honesty of feelings and devotion to work, brought the production to a perversion of reality, making it politically insubstantial and consequently inartistic?”. There is no honest way to answer such a dishonest question. All we have is the hope that one day the history of the Soviet episode and Eisenstein's actual role in it, will be told. Until then we have the undoubtedly artistic images of this unrealized film, and the other perhaps more fully realized ones to contemplate.
David Ehrenstein, Senses of Cinema, November 2002







http://rapidshare.com/files/383612843/Bezhin_Meadow_-_1935_RUS__DRAMA_SHORT__BOBIK_.part1.rar
http://rapidshare.com/files/383614375/Bezhin_Meadow_-_1935_RUS__DRAMA_SHORT__BOBIK_.part2.rar

ENGLISH LECTOR, AND SUBTITLES

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