梅兰芳1935年去苏联访问期间，爱森斯坦为其拍摄的一部戏曲电影。

In the latter half of the 20th Century, Raymond Rohauer was one of the nation's foremost proponents of experimental cinema. Programming diverse films at the Coronet Theatre in Los Angeles, and making the films in his personal archive available for commercial distribution, he helped preserve and promote avant-garde cinema.
This two-DVD collection assembles some of the most influential and eclectic short films in the Rohauer Collection, including works by Man Ray, Hans Richter, Marcel Duchamp, Watson & Webber, Fernand Léger, Joris Ivens, Dimitri Kirsanoff, Jean Epstein, and Orson Welles.
Contents:
Disc 1
* Le Retour à la raison
(Man Ray, France, 1923, 2 min.)
* Emak-Bakia
(Man Ray, France, 1926, 16 min.)
* L'Étoile de mer
(Man Ray, France, 1928, 15.5 min.)
* Les Mystères du château du Dé
(Man Ray, France, 1929, 20 min.)
* The Life and Death of 9413, a Hollywood Extra
(Slavko Vorkapich, Robert Florey, U.S., 1928, 13 min.)
* Ménilmontant
(Dimitri Kirsanoff, France, 1926, 37 min.)
* Brumes d'automne
(Dimitri Kirsanoff, France, 1928, 12 min.)
* Lot in Sodom
(James Sibley Watson, Melville Webber, U.S., 1933, 27 min.)
* Rhythmus 21
(Hans Richter, Germany, 1921, 3 min.)
* Vormittagsspuk (Ghosts Before Breakfast)
(Hans Richter, Germany, 1928, 9 min.)
* Anémic cinéma
(Marcel Duchamp, France, 1926, 6.5 min.)
* Ballet mécanique
(Fernand Léger, France, 1924, 11 min.)
* Symphonie diagonale
(Viking Eggeling, France, 1924, 7 min.)
* Le Vampire
(Jean Painlevé, France, 1939, 8.5 min.)
* The Hearts of Age
(Orson Welles, William Vance, U.S., 1934, 8 min.)
Disc 2
* Überfall
(Ernö Metzner, Germany, 1928, 22 min.)
* La glace à trois faces
(Jean Epstein, France, 1927, 33 min.)
* Le Tempestaire
(Jean Epstein, France, 1947, 22.5 min.)
* Romance sentimentale
(Sergei Eisenstein, Grigori V. Alexandrov, France, 1930, 20 min.)
* Autumn Fire
(Herman G. Weinberg, U.S., 1931, 15 min.)
* Manhattan
(Paul Strand, Charles Sheeler, U.S., 1921, 10 min.)
* La Coquille et le clergyman
(Germaine Dulac, France, 1926, 31.5 min.)
* Regen (Rain)
(Joris Ivens, the Netherlands, 1929, 14 min.)
* H2O
(Ralph Steiner, U.S., 1929, 12 min.)
* Even -- As You and I
(Roger Barlow, Harry Hay, LeRoy Robbins, U.S., 1937, 12 min.)

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.

Eisenstein shows us Mexico in this movie, its history and its culture. He believes, that Mexico can become a modern state.

Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's "Staroye I Novoye".
It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls.
And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, "Staroye I Novoye", is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ).
Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with "Staroye I Novoye". The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel "ARTE", natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests.
And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.

Footage of the aftermath of the January 14 1931 earthquake in Oaxaca, Mexico.

Eisenstein's first sound film, shot in Paris, "built around an old Russian love song sung by the wife of the man who commissioned the film. The song is paralleled by an intercutting of shots of nature, beginning with a storm at dusk, dissolving into a moody rain at night, and jubilantly bursting through the next morning's daybreak in the resplendent sunlight. The black grand piano the singer played now is a white one ... her sadness is now joy, and no longer is she in that closed-in chateau, but out in the open, in a field rapturous with grain swaying heavily in the wind as the song ends."
"Romance Sentimentale," which Eisenstein created with collaborators Alexandrov and Tisse in 1930, just prior to making Que Viva Mexico! In some respects it's an Eisensteinian Fantasia, combining image and music (a famous Russian love song) to create a visual tone poem. Even more impressive, in terms of Eisenstein's passion as a political storyteller, is the rare 20-minute excerpt from Misery and Fortune of Woman, which dramatizes the plight of European women seeking abortions under oppressive conditions. It's a small, gut-wrenching masterpiece, and hasn't lost a bit of its relevance.

A Soviet farmer son, who is working at a Kolchos is killed by his father, who wants to burn the fields of the Kolchos to damage the Soviet Society.

Workers in a factory in pre-revolutionary Russia go on strike and are met by violent suppression.

1944 historical epic film about Ivan IV of Russia directed by Sergei Eisenstein

When German knights invade Russia, Prince Alexander Nevsky must rally his people to resist the formidable force. After the Teutonic soldiers take over an eastern Russian city, Alexander stages his stand at Novgorod, where a major battle is fought on the ice of frozen Lake Chudskoe. While Alexander leads his outnumbered troops, two of their number, Vasili and Gavrilo, begin a contest of bravery to win the hand of a local maiden.

This is the second part of a projected three-part epic biopic of Russian Czar Ivan Grozny, undertaken by Soviet film-maker Sergei Eisenstein at the behest of Josef Stalin. Production of the epic was stopped before the third part could be filmed, due to producer dissatisfaction with Eisenstein's introducing forbidden experimental filming techniques into the material, more evident in this part than the first part. As it was, this second part was banned from showings until after the deaths of both Eisenstein and Stalin, and a change of attitude by the subsequent heads of the Soviet government. In this part, as Ivan the Terrible attempts to consolidate his power by establishing a personal army, his political rivals, the Russian boyars, plot to assassinate him.

Sergei M. Eisenstein's docu-drama about the 1917 October Revolution in Russia. Made ten years after the events and edited in Eisenstein's 'Soviet Montage' style, it re-enacts in celebratory terms several key scenes from the revolution.

A dramatized account of a great Russian naval mutiny and a resultant public demonstration, showing support, which brought on a police massacre. The film had an incredible impact on the development of cinema and is a masterful example of montage editing.