Editing Sergei Eisenstein (section)

===From theatre to cinema===
[[File:Sadanji Ichikawa II and Sergei Eisenstein.jpg|thumb|With Japanese [[kabuki]] actor Sadanji Ichikawa II, Moscow, 1928]]
Eisenstein moved to Moscow in 1920 and began his career in theatre working for [[Proletkult]],<ref>{{harvnb|Seton|1952|p=41}}.</ref> an experimental Soviet artistic institution which aspired to radically modify existing artistic forms and create a revolutionary working-class aesthetic. His productions there were entitled ''Gas Masks'', ''Listen Moscow'', and ''[[Enough Stupidity in Every Wise Man]]''.<ref>{{harvnb|Seton|1952|p=529}}.</ref> He worked as a designer for [[Vsevolod Meyerhold]].<ref>{{harvnb|Seton|1952|pp=46–48}}.</ref> Eisenstein began his career as a theorist in 1923<ref>{{harvnb|Seton|1952|p=61}}.</ref> by writing "The Montage of Attractions" for art journal ''[[LEF (journal)|LEF]]''.<ref>{{harvnb|Christie|Taylor|1994|pp=87–89}}</ref> His first film, ''[[Glumov's Diary]]'' (for the theatre production ''Wise Man''), was also made in that same year with [[Dziga Vertov]] hired initially as an instructor.<ref>{{harvnb|Эйзенштейн|1968}} [http://lib.ru/CINEMA/kinolit/EJZENSHTEJN/s_moya_pervaya_filxma.txt].</ref><ref>{{harvnb|Goodwin|1993|p=32}}.</ref>

''[[Strike (1925 film)|Strike]]'' (1925) was Eisenstein's first full-length feature film. ''[[Battleship Potemkin]]'' (also 1925) was critically acclaimed worldwide. Mostly owing to this international renown, he was then able to direct ''[[October: Ten Days That Shook the World]]'', as part of a grand tenth anniversary celebration of the [[October Revolution]] of 1917, and then ''[[The General Line]]'' (also known as ''Old and New''). While critics outside Soviet Russia praised these works, Eisenstein's focus in the films on structural issues such as camera angles, crowd movements, and [[Montage (filmmaking)|montage]] brought him and like-minded others such as [[Vsevolod Pudovkin]] and [[Alexander Dovzhenko]] under fire from the Soviet film community. This forced him to issue public articles of self-criticism and commitments to reform his cinematic visions to conform to the increasingly specific doctrines of [[socialist realism]].{{citation needed|date=August 2020}}