In 1920 Eisenstein moved to Moscow, and began his career in theatre working for Proletkult.
His productions there were named Gas Masks, Listen Moscow, and Wiseman.
Eisenstein would then work as a designer for Vsevolod Meyerhold.
In 1923 Eisenstein began his career as a theorist, by writing The Montage of Attractions for LEF.
Eisenstein's first movie, Glumov's Diary, was also made in that same year.
Dziga Vertov hired at first as an "instructor" for the film The movie formed part of his theatre production Wiseman.

"Strike" (1925) was Eisenstein's first full-length movie.
The Battleship Potemkin (1925) was well liked by critics throughout the world.
Because he was known throughout the world, Eisenstein was able to direct October (also known as Ten Days That Shook The World).
The movie was part of the tenth anniversary celebration of the October Revolution of 1917.
He then directed The General Line (also known as Old and New).
People in the outside world praised the movies.
However, in the Soviet Union, Eisenstein's focus on structural issues such as camera angles, crowd movements and montage, was not liked by the much of the Soviet movie community.
In 1920 Eisenstein moved to Moscow, and began his career in theatre working for Proletkult. His productions there were named Gas Masks, Listen Moscow, and Wiseman. Eisenstein would then work as a designer for Vsevolod Meyerhold. In 1923 Eisenstein began his career as a theorist, by writing The Montage of Attractions for LEF. Eisenstein's first movie, Glumov's Diary, was also made in that same year. Dziga Vertov hired at first as an "instructor" for the film The movie formed part of his theatre production Wiseman.
"Strike" (1925) was Eisenstein's first full-length movie. The Battleship Potemkin (1925) was well liked by critics throughout the world. Because he was known throughout the world, Eisenstein was able to direct October (also known as Ten Days That Shook The World). The movie was part of the tenth anniversary celebration of the October Revolution of 1917. He then directed The General Line (also known as Old and New). People in the outside world praised the movies. However, in the Soviet Union, Eisenstein's focus on structural issues such as camera angles, crowd movements and montage, was not liked by the much of the Soviet movie community.
Sergei Eisenstein