Eisenstein moved to Moscow in 1920, and began his career in theatre working for Proletkult, 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.
He worked as a designer for Vsevolod Meyerhold.
Eisenstein began his career as a theorist in 1923, by writing "The Montage of Attractions" for art journal LEF.
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.

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 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.
Eisenstein moved to Moscow in 1920, and began his career in theatre working for Proletkult, 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. He worked as a designer for Vsevolod Meyerhold. Eisenstein began his career as a theorist in 1923, by writing "The Montage of Attractions" for art journal LEF. 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.
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 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.
Sergei Eisenstein