Mr. EISENSTEIN: Well, we're seeing quite a bit of vehicles focused on cleaner, more fuel-efficient technology.
It was in this context that Eisenstein developed his theories of montage, typage and synaesthesia.
Eisenstein was lucky to avoid the camps, in which so many of his friends suffered and died.
The preservative qualities of printed books, Ms. Eisenstein argues, may be the most important legacy of Gutenberg's invention.
Paul Eisenstein is publisher of the CarConnection.com and he's been scouting the offerings.
Beyond giving writers a spur to eloquence, what the historian Elizabeth Eisenstein calls "typographical fixity" served as a cultural preservative.
Richter and Sergei Eisenstein co-produced "The Storming of La Sarraz, " a legendary work made at a 1929 conference of avant-garde filmmakers.
Mr. EISENSTEIN: One of the more interesting experiments they did recently involved the Fusion, one of their recent and rare hits.
Eisenstein was fascinated by Mexico and by its complex layering of cultural strata: pre-Columbian civilisations, Spanish baroque, 19th-century Beaux-Arts and revolutionary modernism.
At risk to himself, Eisenstein managed to save Meyerhold's papers and notes and hide them in the wall of his own dacha.
Eisenstein, however, was more than a film maker and when prevented from working on the set, he turned his mind to other interests.
Eisenstein had an account at Zwemmer's in London's Charing Cross Road, from which treasured parcels of art books would arrive for him in Moscow.
Mr. EISENSTEIN: Yeah, that's what's very important about the stuff that the manufacturers are bringing out to the L.A. show, and they realize that consumers want it now.
Mr Bergan's description of their tortuous passage through the Soviet bureaucracy can only enhance Eisenstein's reputation, although there is certainly much more information about him still hidden in the Soviet archives.
Eisenstein's sexuality has long been a matter of conjecture and Mr Bergan, perhaps too cautiously, comes to no clear conclusions about whether the drawings reflected the way Eisenstein lived and behaved.
Paul Eisenstein is publisher of the Internet magazine, TheCarConnection.com.
Mr. EISENSTEIN: Well, not all the Japanese manufacturers have.
Mr. PAUL EISENSTEIN (Publisher, TheCarConnection.com): Good morning.
The experience of working with Meyerhold had decisively shaped Eisenstein's own artistic ideas, convincing him that theatre and cinema should take their place among the modern, and indeed the avant-garde arts, whose stagecraft and visual design needed to break decisively with 19th-century realism.
Mr. EISENSTEIN: Well, I think a lot of it has to do with a lot of the other problems that Ford has, being a very political organization where they haven't really been able to use the technology to the maximum, even the stuff that they have.
In one of the most celebrated cases of borrowing in recent years, the famous scene in Brian De Palma's The Untouchables, when a baby carriage bumps its way down a staircase - itself a nod to Eisenstein's Battle-ship Potemkin - was reproduced in its entirety in N.
Mr Bergan's lucid book is a reminder of both how great a director Eisenstein was and how much greater his achievement might have been, by showing the gap that existed between the magisterial wreckage of his surviving work and the even more astonishing concept of cinema which he was never fully permitted to realise.
As Mr Bergan movingly recounts, Eisenstein developed a curious mixture of audacity and cunning, always pushing his films towards an ideal state which he must have known could never be realised, for political or economic reasons, yet managing to remain employed and to launch yet another project after the previous one had collapsed or been compromised or sabotaged.
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