Eduard Tisse

Eduard Tisse

출생 : 1897-04-01, Liepāja, Latvia

사망 : 1961-11-18

프로필 사진

Eduard Tisse

참여 작품

Sergei Eisenstein: Mexican Fantasy
Director of Photography
Eisenstein shot 50 hours of footage on location in Mexico in 1931 and 32 for what would have become ¡Que viva México!, but was not able to finish the film. Following two wildly different reconstruction attempts in 1939 (Marie Seton's 'Time in the Sun') and 1979 (Grigori Alexandrov's '¡Que viva México!') Kovalov has here compiled another hypothetical version of what Eisenstein's film might have been.
Sergei Eisenstein: Mexican Fantasy
Himself
Eisenstein shot 50 hours of footage on location in Mexico in 1931 and 32 for what would have become ¡Que viva México!, but was not able to finish the film. Following two wildly different reconstruction attempts in 1939 (Marie Seton's 'Time in the Sun') and 1979 (Grigori Alexandrov's '¡Que viva México!') Kovalov has here compiled another hypothetical version of what Eisenstein's film might have been.
Que Viva Mexico!
Director of Photography
¡Que viva México! was a film project undertaken in 1931-32 by Soviet film-maker Sergei Eisenstein for American socialist author Upton Sinclair and several investors, which Eisenstein eventually conceived as an episodic portrayal of Mexican culture and politics from pre-Conquest civilization to the Mexican revolution. Over 200,000 feet of silent film were shot before production had to be stopped due to exhaustion of finances and Stalin's demands that Eisenstein return to the USSR. This is one of several attempts to make a feature film out of the existing footage, here according to Eisenstein's skeletal outline and under the supervision of Gregori Alexandrov, Eisenstein's long-time collaborator, including on this project.
폭군 이반 2
Director of Photography
러시아를 배반하고 폴란드로 투항한 이반 4세의 절친한 친구 쿠르프스키 공은 폴란드의 시그문트 왕에게 충성을 맹세한다. 시그문트 왕은 러시아에 강력한 통치자가 등장하는 것은 유럽 국가들을 위해 좋지 않은 일이며, 어떻게든 귀족들이 서로 권력을 나누어 갖게 됨으로써 러시아가 분열되는 것이 바람직하다고 생각한다. 한편 모스크바로 돌아온 황제 이반 4세는 그 동안 자기 대신 권력을 행사해 온 귀족들에 대해 노골적으로 적대적인 태도를 취한다. 그리고 자신의 가까운 친구이자 귀족들의 이익을 대변하고 있는 사제 필립과 국가의 통치 방식을 놓고 논쟁을 벌이다가 마침내 교회의 권위를 인정한다. 그러자 황제의 친위대원인 말류타는 황제에게 어느 누구도 믿지 말고 황제가 소유하고 있는 권력에만 의지하여 일을 수행해야 한다는 충고를 한다. 그러고는 황제를 위하여 자신의 손으로 저항하는 귀족들을 무참하게 살해한다. 그러자 이 처형 사건을 계기로 귀족들은 모스크바 대주교 필립을 앞세워 이반을 제거하려는 계획을 세우게 되는데...
Sergei Eisenstein
Himself (archive footage)
A USSR documentary about the filmmaker Sergei Eisenstein
The Immortal Garrison
Director
The Immortal Garrison is set in June of 1941, at the outset of the Nazi invasion of Russia. A group of Soviet servicemen, languidly biding their time at the Brest fortress on the Polish border, are suddenly galvanized into action. All desires to return home to their wives and sweethearts are swept aside as the courageous garrison unites to thwart a common enemy. The siege of Brest has served as story material for countless Russian films: in lieu of contradictory evidence, Immortal Garrison must be adjudged the best of these films. For its American release, Immortal Garrison was double-featured with another Soviet production, The Mexican.
Man of Music
Director of Photography
The young composer Mikhail Glinka performs his new work at a soiree at earl Vielgorsky's house. However, the public is accustomed to Western music, and reacts coldly to the creation of the composer. This makes him very sad, but soon he decides to go learn the art of music in Italy. After returning from Italy, he is full of desire to write national Russian opera. Vasily Zhukovsky proposes a subject: a feat of Ivan Susanin. Tsar Nicholas I change the name of the opera to A Life for the Tsar and assigns a librettist - Baron Rosen. Acquaintance with the future co-author shocked Glinka: Rosen speaks Russian with a noticeable German accent. The premiere was successful, but Glinka was still not entirely happy with the libretto: "False words were written by Rosen". When Nicholas I learned that Ruslan and Lyudmila was written on Pushkin's subject, he sees it as sedition. The bitter experience of the composer brighten his supporters.
Meeting on the Elbe
Camera Operator
Soviet and American soldiers are meeting on the shores of the Elbe river in Germany in 1945.
Mājup ar uzvaru
Director of Photography
In the Mountains of Yugoslavia
Director of Photography
Yugoslav farmer-turned-partisan Slavko Babić starts an uprising against the fascist Germans and their allies.
폭군 이반 1
Director of Photography
16세기 후반 여러 명의 공후들이 러시아 땅을 나누어 통치하고 있었다. 그 중에서 모스크바의 대공이었던 이반 4세는 자신이 분열된 영토를 이민족의 침입으로부터 보호하고 통일시키겠다는 야심에 찬 계획을 갖고 전 러시아의 황제로 취임한다. 귀족 출신의 아내 아나스타시야를 황후로 맞이한 이반은 취임 직후부터 경쟁 관계에 있는 귀족들의 반발에 부딪친다. 모스크바 시내 곳곳에 방화 사건이 발생하고 민심이 흉흉해진다. 한편 카잔 지방에 본거지를 둔 몽고의 칸은 모스크바가 자신들에게 복종할 것을 요구하고 전쟁을 벌인다. 이반 대제가 이끄는 러시아군은 이 전쟁에서 승리한다. 그러나 전쟁에서 승리한 후 모스크바로 귀환하는 도중 이반은 병에 걸려 중태에 빠지게 된다. 이반의 권력이 약화되기만을 기다리고 있던 귀족들은 이 기회를 이용하여 블라디미르 대공을 황제로 앉히려는 음모를 꾸미는데...
Time in the Sun
Director of Photography
Second attempt to create a feature film out of the 200,000-plus feet of film which Soviet film-maker Sergei Eisenstein shot during 1931-32 in Mexico for American socialist author Upton Sinclair, his wife and a small company of investors. The projected film, to be called "Que Viva Mexico", was never completed due to exhaustion of funds and Stalin's demand that Eisenstein return to the USSR (he had been absent since 1929). The first attempt at editing the footage, in the USA, resulted in "Thunder Over Mexico", released in 1934. In 1940, Marie Seton, from the UK, acquired some of the footage from the Sinclairs in an attempt to make a better cutting according to Eisenstein's skeletal outline for the proposed film. This film has apparently been lost.
알렉산더 네브스키
Director of Photography
13세기 러시아에 실존했던 러시아의 민족 영웅 알렉산더 네브스키의 이야기. 니콜라이 체르카소프 등이 주연으로 출연하였다. 몽고와 게르만의 침략을 동시에 받고 있던 러시아의 상황에서 알렉산더 네브스키는 농민군을 조직, 침략자들과 전쟁을 벌인다.
Aerograd
Editor
Aerograd is a 1935 Soviet film by Ukrainian director Olexander Dovzhenko, Mosfilm-VUFKU coproduction. It is a futuristic adventure story set in the Soviet Far East. Considered one of two sound masterpieces by Dovzhenko, the other being "Ivan".
Death Day
Director of Photography
During his adventure in Mexico, Sergei Eisenstein made footage of a Mexican "Death Day" celebration for inclusion in his "Que Viva Mexico!" film project. When the 200,000-plus feet of film he eventually exposed in Mexico was first attempted to be made into a feature film, "Thunder Over Mexico", the producers excluded the Death Day material for subsequent compilation as an independent short subject. Silent with music track and explanatory English intertitles.
Thunder Over Mexico
Director of Photography
As was common in Diaz's Mexico, a young hacienda worker finds his betrothed imprisoned and his life threatened by his master for confronting a hacienda guest for raping the girl. This film is the first of several attempts to make a feature-length motion picture out of the 200,000-plus feet of film shot by Sergei Eisenstein, on photographic expedition in Mexico during 1931-32 for Upton Sinclair and a cadre of private American producer-investors. Silent with music and English intertitles.
Moskva–Karakum–Moskva
Director
The Disaster in Oaxaca
Director of Photography
Footage of the aftermath of the January 14 1931 earthquake in Oaxaca, Mexico.
The Disaster in Oaxaca
Writer
Footage of the aftermath of the January 14 1931 earthquake in Oaxaca, Mexico.
Sentimental Romance
Director of Photography
Romance sentimentale is a 1930 French film directed by Grigori Aleksandrov and Sergei M. Eisenstein. A short, experimental, slightly poetic montage of city and abstract images.
Misery and Fortune of Woman
Director of Photography
This film shows contrasting views of women with problematic pregnancies and the outcomes resulting when they seek out a back-alley abortionist, a trained and licensed abortion provider in a clinic, or an obstetrician capable of performing a Caesarian Section. The full film appears to be lost, but shortened versions, including one with dialogue scenes added in Germany in 1935, can be found on the internet. Additionally, Eisenstein's role in making the picture remains unclear: did he direct some or all of it, just edit it, or merely leave it to Alexandrov and Tisse to make? Released in the USA 1930 in a 65 minute (5800 ft.) version with English intertitles and a music track under the title BIRTH.
Misery and Fortune of Woman
Editor
This film shows contrasting views of women with problematic pregnancies and the outcomes resulting when they seek out a back-alley abortionist, a trained and licensed abortion provider in a clinic, or an obstetrician capable of performing a Caesarian Section. The full film appears to be lost, but shortened versions, including one with dialogue scenes added in Germany in 1935, can be found on the internet. Additionally, Eisenstein's role in making the picture remains unclear: did he direct some or all of it, just edit it, or merely leave it to Alexandrov and Tisse to make? Released in the USA 1930 in a 65 minute (5800 ft.) version with English intertitles and a music track under the title BIRTH.
Misery and Fortune of Woman
Director
This film shows contrasting views of women with problematic pregnancies and the outcomes resulting when they seek out a back-alley abortionist, a trained and licensed abortion provider in a clinic, or an obstetrician capable of performing a Caesarian Section. The full film appears to be lost, but shortened versions, including one with dialogue scenes added in Germany in 1935, can be found on the internet. Additionally, Eisenstein's role in making the picture remains unclear: did he direct some or all of it, just edit it, or merely leave it to Alexandrov and Tisse to make? Released in the USA 1930 in a 65 minute (5800 ft.) version with English intertitles and a music track under the title BIRTH.
The Storming of La Sarraz
Director of Photography
A farcical war between the forces of Commercial Cinema and Independent Cinema.
October (Ten Days that Shook the World)
German Soldier
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.
October (Ten Days that Shook the World)
Director of Photography
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.
전함 포템킨
Director of Photography
1905년, 제정 러시아 시대. 전함 포템킨의 수병들은 장교들의 학대와 열약한 근무 조건에 불만을 가지게 된다. 썩은 고기를 식량으로 사용한 사실은 그들의 반란의 기폭제로 작용한다. 수병을 없애버리라는 장교의 명령에 포병들은 거역하고 수병과 포병은 힘을 합쳐 동지가 된다. 전함을 완전히 장악한 이들은 승리감에 젖어 흑해 오뎃사 항구로 향하고 이 소식을 전해들은 시민들은 수병들을 환영하러 부두로 나온다. 한편 짜르의 명령을 받은 정예 코자크 군대가 출동하여 그들에 반항하는 시민들에게 무차별 공격을 가한다. 전함 포템킨에 탄 수병들을 환영하려 했던 시민들은 갑작스런 군대에 의해 피를 흘리며 쓰러져 간다. 수 많은 희생자가 나지만, 분노한 시민들은 수병들과 합세하여 봉기, 짜르의 군대와 싸우며 혁명의 대열에 서는데...
파업
Director of Photography
겉으로는 평온해 보이는 공장. 하지만 저 깊은 수면 아래에서 노동자들은 파업을 준비하고 있다. 파업의 기미를 보고받은 경찰은 스파이를 보내 노동자들을 염탐하게 한다. 그러던 어느날 측미계가 없어지자 공장 측은 한 노동자에게 누명을 씌우게 되고, 그는 자신의 결백함을 보이기 위해 자살하고 만다. 이 사건을 계기로 노동자들의 분노는 폭발하고 마침내 파업이 시작된다. 노동자들은 자신의 요구사항을 공장주에게 말하지만 그들은 수용하지 않는다. 파업이 장기화됨에 따라 극심한 생활고로 노동자들의 가정에서는 불화가 잦아질 뿐 아니라 가재 도구를 내다 팔기도 한다. 또한 스파이들의 회유와 협박에 넘어간 어느 노동자가 지도자를 밀고하기에 이른다. 경찰은 파업을 해결하기 위해서 부랑자들을 시켜 노동자들을 선동해 어용 주점을 방화, 약탈하도록 한다. 그들의 계획적인 음모를 눈치챈 노동자들은 집으로 돌아가려 하지만, 경찰들의 수공으로 심한 타격을 받고 활동가들과 지도자들은 모두 체포된다. 이 사건으로 권력을 가진 자들은 더욱더 철저하게 노동자들을 탄압할 수 있도록 군의 파견을 결정하고 잔혹한 진압을 자행하는데...
Kino-pravda no. 21
Director of Photography
Dziga Vertov-directed Soviet newsreel made to commemorate the first anniversary of the death of Vladimir Ilich Lenin (21st January 1924 - 1925) drawn from 'The Final Journey', a Pravda feuilleton written on the occasion of Lenin's funeral by the man who had introduced Vertov to cinema, Mikhail Koltsov. Contains: First anniversary of Lenin's death: 1. Assassination attempt on Lenin and Soviet Russia's progress under his leadership / 2. Lenin's illness, death and funeral / 3. The year after Lenin's death
The Bear's Wedding
Cinematography
Konstantin Eggert both directed and starred as Count Shemet, cursed by his insane mother’s traumatic experience with a bear to have seizures during which he himself becomes a “bear” on the kill. Eggert’s direction of the movie is as odd as the plot. The whole film is unsettling. The titles are too long; there are interminable shots of irrelevant action; the cutting is uneven. The heroine is unsuitably comic, spasmodically jumping around, smearing ink on her face, knocking things over. For some reason the somber, doomed count falls in love with this girl and decides to marry her.
Sickle and Hammer
Director of Photography
A down on his luck peasant goes to fight in World War I and returns home a hero