Sergei Eisenstein: influences, peers and legacy

Every connection with its receipt

Eisenstein came to cinema from engineering and the theatrical avant-garde, and his montage theory was assembled from Griffith's parallel cutting, Meyerhold's biomechanics, Marxist dialectics and Japanese ideograms. This mix traces that assembly, the Soviet 1920s cohort he competed with, and the directors who have been restaging the Odessa Steps ever since.

The Kynda mix for Sergei Eisenstein

• Key Influence · Intolerance by D. W. Griffith (1916). Griffith's four-strand epic was studied obsessively by the young Soviet directors; Eisenstein devoted a long essay, "Dickens, Griffith and the Film Today," to it, crediting Griffith with parallel montage while arguing his cutting remained merely descriptive rather than dialectical. Intolerance's crowd scenes, rhythmic crosscutting and vast sets stand directly behind Strike and October, even as Eisenstein defined his own method against them.}
• Influencia Obscura · The Magnanimous Cuckold by Vsevolod Meyerhold (1922). Eisenstein studied directly under Meyerhold in Moscow and always named him his true teacher. This constructivist staging — actors in overalls clambering over a skeletal scaffold of wheels and ramps, trained in "biomechanics" — is the template for Eisenstein's typecast bodies and his shock-based dramaturgy. His later refusal to disown Meyerhold, after the older man's 1940 execution, was genuinely dangerous.
• Local Roots · Mother by Vsevolod Pudovkin (1926). Pudovkin was Eisenstein's closest rival within the same Moscow studios and the same year of breakthrough. Their public argument — Pudovkin's "linkage" montage, building emotion through chains of shots, against Eisenstein's "collision" of opposites — defined Soviet film theory of the 1920s. Mother's river-ice-breakup finale is the most famous counter-example to Potemkin's steps, and the two men signed the 1928 sound manifesto together.
• Beyond the Medium · Ulysses by James Joyce (1922). Eisenstein read Joyce closely and visited him in Paris in 1929; he repeatedly cited interior monologue as the literary discovery cinema most needed, and planned to render it audiovisually in his unmade adaptation of Dreiser's An American Tragedy. Joyce's simultaneity, shifting registers and associative chains underpin Eisenstein's theorizing about "inner speech" and the vertical montage of sound and image.
• Peer · Man with a Movie Camera by Dziga Vertov (1929). Vertov's Kino-Eye faction and Eisenstein's camp spent the 1920s in open polemic: Vertov denounced staged fiction as a narcotic, Eisenstein mocked Vertov's "unorganized" observation while plainly absorbing his rhythmic cutting and self-reflexive devices. This city symphony, made the year after October, is the clearest statement of the rival montage program against which Eisenstein's intellectual cinema defined itself.
• From the Canon · Strike by Sergei Eisenstein (1925). His debut, carried over almost directly from Proletkult theatre, is where the method is visible in raw form: typage instead of characters, the collective as protagonist, and the notorious cut from slaughtered cattle to massacred workers that he theorized as the "montage of attractions." Everything the later films refine — rhythm, metaphor, shock — is here unpolished and explicit, making it the key to his practice.
• Key Collaborator · Romeo and Juliet by Sergei Prokofiev (1938). Prokofiev scored Alexander Nevsky and Ivan the Terrible in uniquely close partnership — sometimes writing to cut footage, sometimes with Eisenstein editing to finished music, the practice behind his "vertical montage" analysis of audiovisual counterpoint. This ballet, composed in the same period, shows the dramatic sharpness and rhythmic characterization Eisenstein prized when matching image to score shot by shot.
• Legacy · The Battle of Algiers by Gillo Pontecorvo (1966). Pontecorvo's reconstruction of the Algerian insurgency is the most serious inheritance of Eisenstein's project: non-professional performers cast as types, the crowd as protagonist, and newsreel-grained staging that makes collective action rather than individual psychology the subject. The casbah sequences cut on mass movement exactly as Potemkin does, and the film was studied as both cinema and political instruction.

What influenced Sergei Eisenstein

• D. W. Griffith. Eisenstein is reported to have called Griffith an outstanding master. (also via Battleship Potemkin, Intolerance, The Birth of a Nation) “Sergei Eisenstein expressed his admiration for Griffith as an "outstanding master", but criticized Birth of a Nation” (Wikipedia)
• Lev Kuleshov by Lev Kuleshov. Eisenstein briefly attended Kuleshov’s film school. (also via By the Law, The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks) “He briefly attended the film school established by Lev Kuleshov and the two were both fascinated with the power of editing to generate meaning and elicit emotion.” (Wikipedia)
• Diego Rivera by Diego Rivera. Rivera is named among the artists who inspired Eisenstein’s conception of his films. (also via ¡Que viva México!) “While in Mexico, he mixed socially with Frida Kahlo and Diego Rivera ; Eisenstein admired these artists and Mexican culture in general, and they inspired him to call his films "moving frescoes".” (Wikipedia)
• The Black Consul by Anatolii Vinogradov. An Eisenstein teaching scenario drew on Vinogradov’s book. “Back in the USSR in 1932, Eisenstein was immediately attracted to a recent Russian novel, Anatoli Vinogradov’s The Black Consul , about the Haitian revolutionary Toussaint Louverture.” (JSTOR Daily)
• Black Majesty by John Vandercook. Vandercook’s book also influenced Eisenstein’s hypothetical staging exercise. “In Hollywood, he came across a copy of John W. Vandercook’s historical novel Black Majesty: The Life of Christophe, King of Haiti . He thought Paul Robeson could play the role of Henri Christophe.” (JSTOR Daily)
• Frida Kahlo (1907). Kahlo is named among the artists who inspired Eisenstein’s conception of his films. (also via ¡Que viva México!) “While in Mexico, he mixed socially with Frida Kahlo and Diego Rivera ; Eisenstein admired these artists and Mexican culture in general, and they inspired him to call his films "moving frescoes".” (Wikipedia)
• Kuleshov school of filmmaking. Places Eisenstein's montage experiments within the Kuleshov school's editing theories. “The revolutionary Soviet filmmakers of the Kuleshov school of filmmaking were experimenting with the effect of film editing on audiences, and Eisenstein attempted to edit the film in such a way as to produce the greatest emotional response” (Wikipedia)
• By the Law by Lev Kuleshov (1926). By the Law (Lev Kuleshov) — titan for Sergei Eisenstein “He briefly attended the film school established by Lev Kuleshov and the two were both fascinated with the power of editing to generate meaning and elicit emotion.” (en.wikipedia.org)
• The Kid by Charlie Chaplin (1921). The Kid (Charlie Chaplin) — titan for Sergei Eisenstein “Eisenstein and his entourage spent considerable time with Charlie Chaplin, who recommended that Eisenstein meet with a sympathetic benefactor, the American socialist author Upton Sinclair.” (en.wikipedia.org)
• The Fall of the Romanov Dynasty by Esfir Shub (1927). The Fall of the Romanov Dynasty (Esfir Shub) — ghost for Sergei Eisenstein “Here she worked alongside Sergei Eisenstein, re-editing films such as the Soviet release of Fritz Lang’s Dr Mabuse.” (en.wikipedia.org)
• The Consequences of Feminism by Alice Guy-Blaché. The article identifies Guy-Blaché’s film as a childhood influence on Eisenstein. “Among the films that influenced Eisenstein as a child was The Consequences of Feminism (1906) by the first female filmmaker Alice Guy-Blaché .” (Wikipedia)
• Die Walküre by Richard Wagner (1870). The filmmaker was assigned to direct Wagner’s opera. “Eisenstein returned to teaching, and was assigned to direct Richard Wagner 's Die Walküre at the Bolshoi Theatre .” (Wikipedia)
• Le Père Goriot by Honoré de Balzac. Eisenstein used Balzac’s novel in exercises about rendering literature as film. “Exercises and examples for students were based on rendering literature such as Honoré de Balzac 's Le Père Goriot .” (Wikipedia)
• Vladimir Lenin. Eisenstein incorporated Lenin’s words into his teaching. “Eisenstein's pedagogy, like his films, was politically charged and contained quotes from Vladimir Lenin interwoven with his teaching.” (Wikipedia)
• An American Tragedy by Theodore Dreiser. Wills documents Eisenstein’s contracted project to adapt Dreiser’s novel. “Then, in 1930, he signed a contract with Paramount Pictures to make a version of Theodore Dreiser’s An American Tragedy .” (JSTOR Daily)
• Kino-Eye by Dziga Vertov (1924). Kino-Eye (Dziga Vertov) — ghost for Battleship Potemkin (via Battleship Potemkin) “By this time Vertov had been using his newsreel series as a pedestal to vilify dramatic fiction for several years; he continued his criticisms even after the warm reception of Sergei Eisenstein's Battleship Potemkin (1925).” (en.wikipedia.org)
• Intolerance by D. W. Griffith (1916). Intolerance (D. W. Griffith) — titan for Sergei Eisenstein (also via Battleship Potemkin) “Sergei Eisenstein expressed his admiration for Griffith as an "outstanding master", but criticized Birth of a Nation, calling it "disgraceful propaganda of racial hatred towards the colored people".” (en.wikipedia.org)
• The Magnanimous Cuckold by Vsevolod Meyerhold (1922). The Magnanimous Cuckold (Vsevolod Meyerhold) — ghost for Sergei Eisenstein (also via Battleship Potemkin) “He worked as a designer for Vsevolod Meyerhold.” (en.wikipedia.org)
• Ulysses by James Joyce (1922). Ulysses (James Joyce) — culture for Sergei Eisenstein (openlibrary.org)
• The Burial of the Count of Orgaz by El Greco (1588). The Burial of the Count of Orgaz (El Greco) — culture for Sergei Eisenstein (wikidata.org)
• Thirty-Six Views of Mount Fuji by Katsushika Hokusai (1831). Thirty-six Views of Mount Fuji (Katsushika Hokusai) — culture for Sergei Eisenstein (wikidata.org)
• The Birth of a Nation by D. W. Griffith (1915). Battleship Potemkin (Sergei Eisenstein) — legacy for The Birth of a Nation (via Battleship Potemkin) (themoviedb.org)
• The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks by Lev Kuleshov (1924). The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (Lev Kuleshov) — ghost for Battleship Potemkin (via Battleship Potemkin) (themoviedb.org)
• Beat the Whites with the Red Wedge by El Lissitzky (1919). Beat the Whites with the Red Wedge (El Lissitzky) — culture for Battleship Potemkin (via Battleship Potemkin) (wikidata.org)

Peers and kindred spirits

• Dziga Vertov. Vertov was initially hired as an instructor for Eisenstein’s first film. (also via Man with a Movie Camera, Kino-Eye) “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.” (Wikipedia)
• Vsevolod Pudovkin. The article groups Eisenstein and Pudovkin as like-minded Soviet filmmakers. (also via Mother, The End of St. Petersburg) “Eisenstein's focus in the films on structural issues such as camera angles, crowd movements, and montage brought him and like-minded others such as Vsevolod Pudovkin and Alexander Dovzhenko under fire from the Soviet film community.” (Wikipedia)
• Sergei Prokofiev by Sergei Prokofiev (1891). Robertson describes Eisenstein and Prokofiev’s film-scoring collaboration, not a collaboration on the opera War and Peace. (also via Alexander Nevsky, Ivan the Terrible) “According to Eisenstein, he and Prokofiev would always “bargain” for a long time before it was decided who should be first to make the next decisive audiovisual step.” (Offscreen)
• Upton Sinclair by Upton Sinclair. Sinclair helped arrange Eisenstein’s travel for their subsequent Mexican film project. (also via ¡Que viva México!) “The two admired each other, and between the end of October 1930 and Thanksgiving of that year, Sinclair had secured an extension of Eisenstein's absences from the USSR and permission for him to travel to Mexico.” (Wikipedia)
• Man with a Movie Camera by Dziga Vertov (1929). Man with a Movie Camera (Dziga Vertov) — peer for Sergei Eisenstein (also via Battleship Potemkin) “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.” (en.wikipedia.org)
• Alexander Dovzhenko. The article groups Eisenstein and Dovzhenko as like-minded Soviet filmmakers. (also via Earth) “Eisenstein's focus in the films on structural issues such as camera angles, crowd movements, and montage brought him and like-minded others such as Vsevolod Pudovkin and Alexander Dovzhenko under fire from the Soviet film community.” (Wikipedia)
• Grigori Aleksandrov. Aleksandrov is explicitly described as Eisenstein’s perennial film collaborator. (also via Jolly Fellows) “Eisenstein left the Soviet Union for a tour of Europe, accompanied by his perennial film collaborator Grigori Aleksandrov and cinematographer Eduard Tisse .” (Wikipedia)
• Gerasimov Institute of Cinematography. Eisenstein held a teaching position at the State Institute of Cinematography, later known as VGIK. “His workshops at VGIK (The Gerasimov Institute of Cinematography) were based on practical exercises – finding directorial solutions – such as mise-en-scène, color, light and genre solutions – in the course of group work.” (Sa.Ga.)
• Dmitri Vasilyev by Dmitri Vasilyev. Vasilyev served as Eisenstein’s assistant director. “This time, he was assigned a co-scenarist, Pyotr Pavlenko , [ 62 ] to bring in a completed script; professional actors to play the roles; and an assistant director, Dmitri Vasilyev , to expedite shooting.” (Wikipedia)
• Pyotr Pavlenko by Pyotr Pavlenko. Pavlenko was assigned as Eisenstein’s co-scenarist. “This time, he was assigned a co-scenarist, Pyotr Pavlenko , [ 62 ] to bring in a completed script; professional actors to play the roles; and an assistant director, Dmitri Vasilyev , to expedite shooting.” (Wikipedia)
• Charlie Chaplin. Battleship Potemkin (Sergei Eisenstein) — peer for Charlie Chaplin (via Battleship Potemkin, The Kid) “Eisenstein and his entourage spent considerable time with Charlie Chaplin, who recommended that Eisenstein meet with a sympathetic benefactor, the American socialist author Upton Sinclair.” (en.wikipedia.org)
• Mother by Vsevolod Pudovkin (1926). Mother (Vsevolod Pudovkin) — geography for Sergei Eisenstein (also via Battleship Potemkin) “While critics outside Soviet Russia praised his work, Eisenstein's focus in the films on structural issues such as camera angles, crowd movements, and montage brought him and like-minded others such as Vsevolod Pudovkin and Alexander Dov…” (en.wikipedia.org)
• Vsevolod Meyerhold. Eisenstein worked as a designer for Meyerhold. (also via The Magnanimous Cuckold) “He worked as a designer for Vsevolod Meyerhold . [ 24 ] Eisenstein began his career as a theorist in 1923” (Wikipedia)
• Earth by Alexander Dovzhenko (1930). Earth (Alexander Dovzhenko) — geography for Sergei Eisenstein (also via Battleship Potemkin) “While critics outside Soviet Russia praised his work, Eisenstein's focus in the films on structural issues such as camera angles, crowd movements, and montage brought him and like-minded others such as Vsevolod Pudovkin and Alexander Dov…” (en.wikipedia.org)
• Bed and Sofa by Abram Room (1927). Bed and Sofa (Abram Room) — geography for Sergei Eisenstein “Room, declared opponent of the concept of Sergei Eisenstein, postulated in his essay Moi kinoubezhdeniya (My beliefs of film) in: Soviet screen, 1926, m.” (en.wikipedia.org)
• Proletkult. Eisenstein began his theatre career working for Proletkult. “Eisenstein moved to Moscow in 1920 and began his career in theatre working for Proletkult , [ 22 ] an experimental Soviet artistic institution” (Wikipedia)
• Eduard Tisse. Tisse accompanied Eisenstein as the expedition’s cinematographer. “Eisenstein left the Soviet Union for a tour of Europe, accompanied by his perennial film collaborator Grigori Aleksandrov and cinematographer Eduard Tisse .” (Wikipedia)
• Frauennot – Frauenglück. Eisenstein supervised Tisse’s documentary. “In 1929, in Switzerland, Eisenstein supervised an educational documentary about abortion directed by Tisse, entitled Frauennot – Frauenglück .” (Wikipedia)
• War and Peace by Sergei Prokofiev. Eisenstein designed sets for Prokofiev’s operatic rendition of War and Peace. “Prokofiev composed the score for Eisenstein's film Ivan the Terrible and Eisenstein reciprocated by designing sets for an operatic rendition of War and Peace that Prokofiev was developing.” (Wikipedia)
• Jolly Fellows by Grigori Aleksandrov (1934). Jolly Fellows (Grigori Aleksandrov) — collaborator for Battleship Potemkin (via Battleship Potemkin) “== Cast == Aleksandr Antonov as Grigory Vakulinchuk Vladimir Barsky as Commander Evgeny Golikov Grigori Aleksandrov as Chief Officer Giliarovsky Mikhail Gomorov as Afanasi Matushenko Maksim Shtraukh as Fyodor Smirnov Aleksandr Levshin as…” (en.wikipedia.org)
• Edmund Meisel (1894). Meisel composed the original score for the film. (via Battleship Potemkin) “The original score was composed by Edmund Meisel.” (Wikipedia)
• Pet Shop Boys. Pet Shop Boys composed a new soundtrack for the film in 2004. (via Battleship Potemkin) “Neil Tennant and Chris Lowe (of the Pet Shop Boys ) composed a soundtrack in 2004 with the Dresden Symphonic Orchestra” (Wikipedia)
• Michael Nyman (1944). Michael Nyman composed a new score for the film in 2011. (via Battleship Potemkin) “A new score for Battleship Potemkin was composed in 2011 by Michael Nyman , and is regularly performed by the Michael Nyman Band” (Wikipedia)
• Fritz Lang. Battleship Potemkin (Sergei Eisenstein) — peer for Fritz Lang (via Battleship Potemkin, Metropolis) (themoviedb.org)
• Mary Craig Sinclair. Mary Sinclair helped organize the trust that financed the film. (via ¡Que viva México!) “As a result of their discussions with Eisenstein and his colleagues, Sinclair, his wife Mary , and three other investors organized as the "Mexican Film Trust" to contract the three Russians to make a film about Mexico of Eisenstein's des…” (Wikipedia)
• Napoléon by Abel Gance (1927). Napoléon (Abel Gance) — peer for Sergei Eisenstein (themoviedb.org)
• Metropolis by Fritz Lang (1927). Metropolis (Fritz Lang) — peer for Sergei Eisenstein (themoviedb.org)
• Romeo and Juliet by Sergei Prokofiev (1938). Romeo and Juliet (Sergei Prokofiev) — collaborator for Sergei Eisenstein “=== Comeback === Eisenstein was able to ingratiate himself with Stalin for 'one more chance', and he chose, from two offerings, the assignment of a biopic of Alexander Nevsky and his victory at the Battle of the Ice, with music composed …” (en.wikipedia.org)
• Don Quixote by Grigori Kozintsev (1957). Don Quixote (Grigori Kozintsev) — collaborator for Sergei Eisenstein (themoviedb.org)
• The End of St. Petersburg by Vsevolod Pudovkin (1927). The End of St. Petersburg (Vsevolod Pudovkin) — peer for Battleship Potemkin (via Battleship Potemkin) (themoviedb.org)
• Jolly Fellows by Grigori Alexandrov (1934). Jolly Fellows (Grigori Alexandrov) — collaborator for Sergei Eisenstein
• F. W. Murnau. Bronenosets Potyomkin (Sergei Eisenstein) — peer for F. W. Murnau (via Bronenosets Potyomkin)

Who Sergei Eisenstein influenced

• Stanley Kubrick (1928). Eisenstein was an early influence on Kubrick. (also via Alexander Nevsky) “He was particularly inspired by Sergei Eisenstein and Arthur Rothstein , the photographic technical director of Look magazine.” (Wikipedia)
• Francis Ford Coppola. Eisenstein’s film helped prompt Coppola to pursue cinema. (also via The Godfather Part II) “Coppola was profoundly impressed by Sergei Eisenstein 's film October: Ten Days That Shook the World (1928), especially the quality of its editing , and decided to pursue cinema rather than theater.” (Wikipedia)
• The Untouchables by Brian De Palma (1987). The Untouchables (Brian De Palma) — legacy for Sergei Eisenstein (also via Battleship Potemkin) “The Untouchables' finale shoot out in the train station is a clear borrowing from the Odessa Steps sequence in Sergei Eisenstein's The Battleship Potemkin.” (en.wikipedia.org)
• William Kentridge by William Kentridge. Kentridge depicted Eisenstein in a drawing exhibited at The Broad. “In 2023, artist William Kentridge included a drawing of Eisenstein in his solo museum exhibition at The Broad in Los Angeles .” (Wikipedia)
• Brazil by Terry Gilliam (1985). Brazil (Terry Gilliam) — legacy for Battleship Potemkin (via Battleship Potemkin) “Steven Spielberg 's Raiders of the Lost Ark (1981) Terry Gilliam 's Brazil (1985)” (Wikipedia)
• The Untouchables by Desi Arnaz (1959). The Untouchables' finale borrows from Eisenstein's Odessa Steps sequence. (via The Battleship Potemkin, Battleship Potemkin) “The Untouchables ' finale shoot out in the train station is a clear borrowing from the Odessa Steps sequence in Sergei Eisenstein 's The Battleship Potemkin” (Wikipedia)
• Alfred Hitchcock (1899). Hitchcock became fascinated with Eisenstein's work through the London Film Society. “he became fascinated by the work of Soviet filmmakers Dziga Vertov , Lev Kuleshov , Sergei Eisenstein and Vsevolod Pudovkin” (Wikipedia)
• Eisenstein in Guanajuato. Eisenstein in Guanajuato (Peter Greenaway) — legacy for Sergei Eisenstein “Eisenstein in Guanajuato (2015) by Peter Greenaway.” (en.wikipedia.org)
• Fellini Satyricon. Critic Alberto Moravia connects a Fellini Satyricon scene to Eisenstein's Alexander Nevsky. (via Alexander Nevsky) “with "the oars of his galleys suspended in the air, Fellini revives for us the lances of the battle in Eisenstein's Alexander Nevsky (film) .” (Wikipedia)
• The Music Box by Laurel and Hardy (1932). Listed as a film paying homage to the Odessa Steps sequence. (via Battleship Potemkin) “many films pay homage to the scene, including: Laurel and Hardy 's The Music Box (1932)” (Wikipedia)
• The Magic Christian. Listed as a film paying homage to the Odessa Steps sequence. (via Battleship Potemkin) “Laurel and Hardy 's The Music Box (1932) Peter Sellers ' The Magic Christian (1969)” (Wikipedia)
• We All Loved Each Other So Much by Ettore Scola (1974). Listed as a film paying homage to the Odessa Steps sequence. (via Battleship Potemkin) “Peter Sellers ' The Magic Christian (1969) Ettore Scola 's We All Loved Each Other So Much (1974)” (Wikipedia)
• Raiders of the Lost Ark. Listed as a film paying homage to the Odessa Steps sequence. (via Battleship Potemkin) “Ettore Scola 's We All Loved Each Other So Much (1974) Steven Spielberg 's Raiders of the Lost Ark (1981)” (Wikipedia)
• Tezaab. Listed as a film paying homage to the Odessa Steps sequence. (via Battleship Potemkin) “Brian De Palma 's The Untouchables [ 36 ] (1987) Chandrashekhar Narvekar's Hindi film Tezaab (1988)” (Wikipedia)
• Beauty and the Beast. Listed as a film paying homage to the Odessa Steps sequence. (via Battleship Potemkin) “The Children Thief (1991) Disney 's Beauty and the Beast [ 37 ] (1991)” (Wikipedia)
• Deathline. Listed as a film paying homage to the Odessa Steps sequence. (via Battleship Potemkin) “Disney 's Beauty and the Beast [ 37 ] (1991) Tibor Takacs 's Deathline (1997)” (Wikipedia)
• Star Wars: Episode III – Revenge of the Sith. Listed as a film paying homage to the Odessa Steps sequence. (via Battleship Potemkin) “Tibor Takacs 's Deathline (1997) George Lucas 's Star Wars: Episode III – Revenge of the Sith [ 38 ] (2005)” (Wikipedia)
• Ergo Proxy. Listed as a work paying homage to the Odessa Steps sequence. (via Battleship Potemkin) “George Lucas 's Star Wars: Episode III – Revenge of the Sith [ 38 ] (2005) Shukō Murase 's anime Ergo Proxy (2006)” (Wikipedia)
• Three. Listed as a film paying homage to the Odessa Steps sequence. (via Battleship Potemkin) “Shukō Murase 's anime Ergo Proxy (2006) Johnnie To 's Three (2016)” (Wikipedia)
• Dune. Listed as a film paying homage to the Odessa Steps sequence. (via Battleship Potemkin) “Johnnie To 's Three (2016) Denis Villeneuve 's Dune (2021)” (Wikipedia)
• Bananas. Listed as a film spoofing the Odessa Steps sequence. (via Battleship Potemkin) “Several films spoof it, including Woody Allen 's Bananas (1971)” (Wikipedia)
• Love and Death. Listed as a film spoofing the Odessa Steps sequence. (via Battleship Potemkin) “Woody Allen 's Bananas (1971) and Love and Death (1975)” (Wikipedia)
• Il secondo tragico Fantozzi. Listed as a film spoofing the Odessa Steps sequence. (via Battleship Potemkin) “Love and Death (1975) The Italian Fantozzi comedy film Il secondo tragico Fantozzi (1976)” (Wikipedia)
• Deja Vu. Listed as a film spoofing the Odessa Steps sequence. (via Battleship Potemkin) “Il secondo tragico Fantozzi (1976) the Soviet-Polish comedy Deja Vu (1990)” (Wikipedia)
• Mr. Bill Goes to Washington. Listed as a film spoofing the Odessa Steps sequence. (via Battleship Potemkin) “the Soviet-Polish comedy Deja Vu (1990) The short film Mr. Bill Goes to Washington (1993)” (Wikipedia)
• Naked Gun 33⅓: The Final Insult. Listed as a film spoofing the Odessa Steps sequence. (via Battleship Potemkin) “Mr. Bill Goes to Washington (1993) Zucker, Abrahams, and Zucker 's Naked Gun 33 + 1 ⁄ 3 : The Final Insult (1994)” (Wikipedia)
• An American Tail: The Mystery of the Night Monster. Listed as a film spoofing the Odessa Steps sequence. (via Battleship Potemkin) “though it's also a parody of The Untouchables The direct-to-video film An American Tail: The Mystery of the Night Monster (1999)” (Wikipedia)
• Kebab Connection. Listed as a film spoofing the Odessa Steps sequence. (via Battleship Potemkin) “The direct-to-video film An American Tail: The Mystery of the Night Monster (1999) The German–Turkish film Kebab Connection (2004)” (Wikipedia)
• The Trotsky. Listed as a film spoofing the Odessa Steps sequence. (via Battleship Potemkin) “The German–Turkish film Kebab Connection (2004) Jacob Tierney 's The Trotsky (2009)” (Wikipedia)
• Francis Bacon (1909). States the film's imagery directly influenced painter Francis Bacon's work. (via Battleship Potemkin) “Eisenstein's images profoundly influenced Bacon, particularly the Odessa Steps shot of the nurse's broken glasses and open-mouthed scream.” (Wikipedia)
• Alexey Titarenko (1962). States Titarenko's photography series paid tribute to the film's Odessa Steps sequence. (via Battleship Potemkin) “The Soviet Union-born photographer and artist Alexey Titarenko was inspired by and paid tribute to the Odessa Steps sequence in his series City of Shadows (1991–1993)” (Wikipedia)
• Orson Welles (1915). Orson Welles named Battleship Potemkin among his favorite films. (via Battleship Potemkin) “Directors Orson Welles , [ 67 ] Michael Mann [ 68 ] and Paul Greengrass [ 69 ] placed Battleship Potemkin on their list of favorite films” (Wikipedia)
• Michael Mann (1943). Michael Mann named Battleship Potemkin among his favorite films. (via Battleship Potemkin) “Directors Orson Welles , [ 67 ] Michael Mann [ 68 ] and Paul Greengrass [ 69 ] placed Battleship Potemkin on their list of favorite films” (Wikipedia)
• Paul Greengrass (1955). Paul Greengrass named Battleship Potemkin among his favorite films. (via Battleship Potemkin) “Directors Orson Welles , [ 67 ] Michael Mann [ 68 ] and Paul Greengrass [ 69 ] placed Battleship Potemkin on their list of favorite films” (Wikipedia)
• Billy Wilder (1906). Billy Wilder named Battleship Potemkin his all-time favorite film. (via Battleship Potemkin) “director Billy Wilder named it as his all-time favourite film” (Wikipedia)
• Dmitri Shostakovich (1906). Shostakovich's symphonies were used as soundtrack material for the film. (via Battleship Potemkin) “Three symphonies from Dmitri Shostakovich have been used, with No. 5 , beginning and ending the film, being the most prominent” (Wikipedia)
• Luis Buñuel. Battleship Potemkin (Sergei Eisenstein) — titan for Luis Buñuel (via Battleship Potemkin) “While in the United States, Buñuel associated with other celebrity expatriates including Sergei Eisenstein, Josef von Sternberg, Jacques Feyder, Charles Chaplin and Bertolt Brecht.” (en.wikipedia.org)
• The Godfather Part II by Francis Ford Coppola (1974). Coppola attributes his film’s two-part conception to Eisenstein’s Ivan the Terrible. (via Ivan the Terrible) “Coppola claims it was the first major motion picture to use "Part II" in its title; he was influenced by Sergei Eisenstein 's two-part Ivan the Terrible .” (Wikipedia)
• The Battle of Algiers by Gillo Pontecorvo (1966). The Battle of Algiers (Gillo Pontecorvo) — legacy for Sergei Eisenstein (themoviedb.org)
• Akira Kurosawa (1910). Battleship Potemkin (Sergei Eisenstein) — titan for Akira Kurosawa (via Battleship Potemkin) (themoviedb.org)

…and 2 more on the map above.