seen from United States
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A recent finding of mine
Among his quite lengthy list of interests, Eisenstein (the director of Ivan the Terrible) was especially fond of Chinese art and the art of Peking opera specifically.
Having found this (and some photos of Mei Lanfang) out, the (previously) odd design of the Mokosh mask suddenly started to make sense to me.
The famous ‘friendship of the people’ through femboys, I see..
Francis Bacon conversing with cinema
[upper: Study after Velázquez's Portrait of Pope Innocent X, 1953 / "Scanners", D. Cronenberg, 1981
middle: Study for a portrait, 1952 / "Battleship Potemkin", S. Eisenstein, 1925
lower: Three Studies for Figures at the Base of a Crucifixion, 1944 / "Alien", R. Scott, 1979]
Tim McMullan as Rak and Simon McBurney as Sergei Eisenstein. Eisenstein.
Totally Spies! Poll: The World's most dangerous criminal
I imagined a special poll about Totally Spies! villains.
I chose 12 random Spies' enemies for this poll:
Tim Scam: He tried to commit an ecocide (steal the Earth's water) and to destroy the WOOHP.
Myrna Beesbottom: He brainwashed Jerry with a mind-control ring for a forced marriage for better controlling the WOOHP.
Terrence Lewis: He is Jerry's twin brother and nemesis. He wanted to turn his brother into an evil genius, to kill the Spies and to destroy the WOOHP. He is the leader of LAMOS.
Gelee: He tried to exterminate the entire human population by causing an Ice Age across the entire world.
Violet Vanderfleet: He tried to exterminate all the male humans (gendercide)
Helga Von Guggen: He created trapped clothes under a fake fashion cover for killing all her customers and made illegal experimentations on humans for produce fur coats.
Geraldine Husk: She tried to destroy the WOOHP with a criminal organization disguised into a security organization (SPI)
Brain: He tried to cause a nuclear holocaust during a Christmas day. He's described as the most brillant villain.
Vomesa: He controlled Jerry and used him as puppet for controlling the WOOHP and trying to conquer the World.
Eisenstein: He kidnapped Heads of State for replacing them with humanoid robots for turning monuments into theme park rides (but he could better control the world with this plan).
Fabu: He created Fabulizer machines for brainwashing people into his own loyal subjects. He tried to destroy the Earth so he can rule his own kingdom (Fabutopia) in space.
Cyberchac: A high-tech genius and a hacker. He tried to infiltrate the WOOHP World and caused chaos in Singapore with modified babies and materialized videogame creatures.
Who is the most dangerous criminal (according to your opinion) ?
Tim Scam
Myrna Beesbottom
Terrence Lewis
Gelee
Violet Vanderfleet
Helga Von Guggen
Geraldine Husk
Brain
Vomesa
Eisenstein
Fabu
Cyberchac
Comment if you have another Totally Spies! villain in suggestion.
Battleship Potemkin (1925) Sergei Eisenstein
Battleship Potemkin (original Russian title: Броненосец «Потёмкин» , Bronenosets Po'tyomkin ) was the second feature film directed by Sergei Eisenstein; today it is considered an absolute masterpiece of world cinema, not only for its aesthetic merits and its value as a historical and social document, but also for the linguistic innovations that continue to stimulate the creativity of filmmakers and critical debate. One hundred years after its theatrical release (January 21, 1926), we re-present this work not with the original soundtrack by Edmund Meisel or the more common one by Nikolai Kryukov, but with a new soundtrack composed, performed, and recorded live by Cinestesia, which reinterprets this immortal cinema classic in an alternative and contemporary way.
Battleship Potemkin is an ensemble film in which no single protagonist emerges; at the center of the story are the people with their multiplicity of viewpoints. To use the director's own words:
"...it seems like a newsreel (or chronicle) of events, but in reality, it strikes like a drama. The secret of this effect lies in the fact that the rhythm of the newsreel adapts to the rigorous laws of tragic composition; and even more so, of tragic composition in its most classical form: the tragedy in five acts."
00:27 - Act I. Men and Maggots
13:54 - Act II. Drama on the Deck
31:45 - Act III. A Dead Man Calls Out
43:00 - Act IV. The Odessa Steps
54:15 - Act V. One Against All
Produced in 1925, the film was commissioned and produced by Goskino to celebrate the 20th anniversary of the 1905 Russian Revolution. The direction was entrusted to the young Sergei Mikhailovich Eisenstein, then twenty-seven years old, who had already distinguished himself with his debut film Strike!.
The original project, based on the treatment written by Nina Agadzhanova-Shutko, planned the creation of several films based on multiple historical episodes starting from the Russo-Japanese War (1904-1905). After a scouting trip to the city of Odessa, the director was struck by the monumental staircase (designed by the Italian architect Francesco Boffo), which suggested the famous scene set there.
He proposed and obtained permission from the production to make a single film telling the story of the mutiny of the Potemkin sailors and the violent repression that befell the inhabitants of Odessa who sided with the rebels. This episode occupied a small and marginal space in Nina Agadzhanova's subject; Eisenstein developed it into a screenplay together with Grigori Vasilievich Aleksandrov .
In historical reality, the massacre took place at night along the city streets, but in the cinematic reconstruction, the director chooses to set it on the staircase, which, due to its particular shape, allows him to put into practice his theories on montage. For a more in-depth analysis of these, we refer to later videos, limiting ourselves here to highlighting the three scenes most frequently cited by critics to illustrate Eisenstein's theories:
(13:05) The sailor breaking the plate. This scene, which closes the first act of the film, is an example of overlapping editing : the same action is filmed and shown from different points of view; the editing of the shots extends the duration of the event, emphasizing it and amplifying its impact. The sailor's outburst of anger marks, in fact, the beginning of the revolt.
(53:38) The broken glasses. The Odessa Steps sequence closes with the elderly woman being struck by a soldier. Here, Eisenstein uses the opposite technique to overlapping editing, subtracting frames from the sequence instead of adding them: we see the soldier striking his blows and immediately after the woman's face covered in blood... we as viewers are forced to mentally reconstruct what happened, making us participants in it.
(54:08) The lion. This scene, characterized by strong symbolism—the lion is the people who sleep, wake up, and rebel—is an example of how Eisenstein uses montage to give his images a metaphorical meaning as well.
These famous examples represent only a small part of the devices used by Eisenstein in his film, which push cinematic montage beyond its primary narrative function, making it evolve into expressive montage .
Following the Revolution, the Soviet Union had been excluded from international markets for several years; Battleship Potemkin was the first Soviet film to obtain wide distribution abroad. Despite being soon censored for its revolutionary content, its success was such that it allowed Eisenstein a certain creative freedom for a few more years before the ideals of the Revolution were suppressed by the Stalinist dictatorship.
EISENSTEIN -> now Železná Ruda /CZECH REP.
pieter bruegel the elder, paintings
sergei eisenstein, n.d. (ca. 1930s), coloured pencil on paper
