巴赞批评的矛头主要是指向爱森斯坦和普多夫金的。
Bazin is the main point of criticism directed Eisenstein and Pudovkin's.
显然，这已经不能用爱森斯坦和普多夫金时代的蒙太奇理论去加以解释。
Obviously, this can no longer use the Eisenstein and Pudovkin's montage theory of time to explain.
“越界”的三种形式——对《先锋派的历史性：皮拉内西与爱森斯坦》一文的解读。
The Three Forms of Transgression - A Reading of The Historicity of the Avant-Garde: Piranesi and Eisenstein;
年轻时的爱森斯坦试图完全主宰自己的艺术手段，他最想制作的就是一些事先就能预知效果的影片。
Eisenstein youth attempting to fully master their art means to him the most is that some want to create in advance will be able to predict the effect of the film.
爱森斯坦：苏联电影摄制人，被认为是电影史上最有影响的导演之一，他导演的影片包括《战舰波将金号》（1925年），以及他的第一部有声电影《亚历山大·涅夫斯基》（1938年）。
Eisenstein:Soviet filmmaker considered among the most influential directors in the history of motion pictures. His films include Potemkin (1925) and alexander Nevsky (1938), his first film with sound.
和在他之前成名的一些知名电影制作人，比如费里尼(Federico Fellini)，爱森斯坦(Sergei Eisenstein)，和帕索里尼(PierPaoloPasolini)一样，伯顿的电影是他绘画作品的延伸。
Like those of a few notable moviemakers before him - including Federico Fellini, Sergei Eisenstein, and Pier Paolo Pasolini - Burton's films are extensions of his drawings.
和在他之前成名的一些知名电影制作人，比如费里尼(Federico Fellini)，爱森斯坦(Sergei Eisenstein)，和帕索里尼(PierPaoloPasolini)一样，伯顿的电影是他绘画作品的延伸。
Like those of a few notable moviemakers before him - including Federico Fellini, Sergei Eisenstein, and Pier Paolo Pasolini - Burton's films are extensions of his drawings.
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