Explanation: Sergei Eisenstein's father, Mikhail Osipovich Eisenstein, was an architect. His mother, Julia Ivanovna Konetskaya, hailed from a Russian Orthodox family. The assertion regarding his father's profession and his mother's background is factually inaccurate.

Explanation: Sergei Eisenstein was indeed born in Riga, which was then part of the Russian Empire and is now the capital of Latvia, in the year 1898.

Explanation: Eisenstein's mother, Julia Ivanovna Konetskaya, left Riga with Sergei during the 1905 Russian Revolution and later divorced his father, subsequently moving to France. The statement that she remained with his father and never left Russia is incorrect.

Explanation: Eisenstein was raised in an Orthodox Christian environment but later became an atheist. There is no indication in the provided material that he embraced Buddhism.

Explanation: Sergei Eisenstein was born in Riga, Latvia, in 1898, during the period when the city was part of the Russian Empire.

Explanation: Sergei Eisenstein's father, Mikhail Osipovich Eisenstein, was an architect by profession.

Explanation: Eisenstein's mother, Julia, departed from Riga with young Sergei during the period of unrest associated with the 1905 Russian Revolution.

Explanation: Alice Guy-Blaché's 1906 film, 'The Consequences of Feminism,' is cited as an early cinematic influence on Sergei Eisenstein during his formative years.

Explanation: At the Petrograd Institute of Civil Engineering, Eisenstein pursued studies in architecture and engineering, fields related to his father's profession.

Explanation: In 1918, Eisenstein interrupted his academic pursuits to enlist in the Red Army and participate in the Russian Civil War.

Explanation: While working in Minsk, Eisenstein's visual development was notably influenced by his exposure to Japanese Kabuki theatre.

Explanation: Eisenstein commenced his professional career in Moscow at Proletkult, an experimental institution dedicated to fostering a revolutionary working-class aesthetic.

Explanation: While Eisenstein is renowned for his pioneering work in silent cinema, his theoretical writings also significantly addressed the potential of sound in filmmaking, contributing to the broader discourse on cinematic language.

Explanation: Eisenstein's first feature film was 'Strike,' released in 1925. 'Battleship Potemkin' was released in 1925 as well, not 1924, and while highly significant, it was not his debut feature.

Explanation: The film 'October: Ten Days That Shook the World' was commissioned to commemorate the tenth anniversary of the 1917 October Revolution, not the 1905 Revolution.

Explanation: Eisenstein's early films, characterized by their innovative use of montage and experimental techniques, were often criticized by segments of the Soviet film community for deviating from traditional narrative structures and prevailing artistic doctrines.

Explanation: Eisenstein's seminal theoretical contribution to filmmaking is widely recognized as his pioneering work on the theory and practice of montage, not continuity editing.

Explanation: Eisenstein theorized that montage functioned through the dynamic juxtaposition and 'collision' of distinct shots, generating new ideas and emotional impacts, rather than through a harmonious blend within a single shot.

Explanation: Sergei Eisenstein is universally recognized as one of cinema's most influential figures, celebrated as a director, screenwriter, editor, and theorist, particularly for his groundbreaking work in developing and applying the principles of montage.

Explanation: 'Battleship Potemkin,' released in 1925, achieved significant worldwide critical acclaim and has been consistently ranked among the most important films in cinematic history.

Explanation: 'October: Ten Days That Shook the World' was commissioned by the Soviet government to commemorate the tenth anniversary of the 1917 October Revolution.

Explanation: Eisenstein and his contemporaries faced criticism for their focus on formal cinematic elements, such as montage and camera techniques, which were perceived by some within the Soviet film establishment as a departure from prescribed artistic norms.

Explanation: Eisenstein's most profound and enduring contribution to film theory lies in his pioneering conceptualization and application of montage as a fundamental cinematic technique.

Explanation: Eisenstein outlined five methods of montage: metric, rhythmic, tonal, overtonal, and intellectual. Harmonic montage is not among these recognized categories.

Explanation: Eisenstein posited that meaning and new ideas emerge from the dialectical 'collision' of juxtaposed shots, rather than from smooth transitions or the isolated aesthetic of individual frames.

Explanation: Eisenstein's contract with Paramount Pictures in 1930 did not result in the successful production of a Hollywood film; the contract was terminated due to disagreements over proposed projects and external pressures.

Explanation: Upton Sinclair, an American author, played a crucial role in facilitating Eisenstein's Mexican film project, assisting with its funding and production through the Mexican Film Trust.

Explanation: The production of ¡Que viva México! was halted prematurely, and Eisenstein never oversaw its final editing or release. The footage was later re-edited by others without his involvement.

Explanation: The inability to complete and edit ¡Que viva México! profoundly affected Eisenstein, leading to a period of depression and a hospitalization in a mental health facility.

Explanation: In 1928, Eisenstein traveled to Europe with the express purpose of studying the emerging technology of sound motion pictures.

Explanation: The contract with Paramount Pictures faltered because Eisenstein's proposed film projects were not deemed suitable or commercially viable by the studio's executives.

Explanation: Upton Sinclair, a prominent American author, was instrumental in facilitating Eisenstein's involvement in the Mexican film project and in organizing its financial backing.

Explanation: The ambitious film project undertaken by Eisenstein in Mexico was titled '¡Que viva México!', though it ultimately remained unfinished.

Explanation: While factors such as schedule overruns, financial difficulties, and political pressures contributed to the shutdown, Eisenstein's personal illness was not cited as a primary reason for the halt of the '¡Que viva México!' production.

Explanation: Following the suspension of production, the footage for '¡Que viva México!' was brought back to the United States, where Sol Lesser oversaw its post-production, leading to the creation of three distinct films.

Explanation: The unresolved issues surrounding the '¡Que viva México!' project had a severe psychological impact on Eisenstein, contributing to a period of profound depression and necessitating hospitalization.

Explanation: '¡Que viva México!' stands out as one of Eisenstein's most notable unfinished projects, plagued by considerable production difficulties and ultimately halted.

Explanation: 'Bezhin Meadow' was halted and cancelled due to production issues. While Stalin did intervene, it was to shift blame and ultimately save Eisenstein's career, not to suppress an already completed and acclaimed film.

Explanation: Released in 1938, 'Alexander Nevsky' was indeed a major comeback for Eisenstein, receiving critical acclaim and earning him significant honors, including the Order of Lenin and a Stalin Prize.

Explanation: The acclaimed musical score for 'Alexander Nevsky' was composed by Sergei Prokofiev, not Dmitri Shostakovich.

Explanation: While 'Ivan the Terrible', Part I, received approval and a Stalin Prize, Part II faced criticism and was not released until 1958, long after Eisenstein's death.

Explanation: Sergei Eisenstein was honored with two Stalin Prizes during his career, recognizing his significant contributions to Soviet cinema.

Explanation: Google created a Doodle to commemorate Sergei Eisenstein's 120th birthday, not his 100th.

Explanation: The prestigious *Sight & Sound* decennial poll has consistently recognized 'Battleship Potemkin' as one of the greatest films ever produced, underscoring its enduring critical importance.

Explanation: Following his death, Sergei Eisenstein's ashes were interred in the Novodevichy Cemetery, a historically significant burial ground located in Moscow.

Explanation: 'Alexander Nevsky' functioned significantly as an allegory, issued as a warning against the rising threat of Nazi Germany, drawing parallels to historical resistance against foreign invaders.

Explanation: While Eisenstein and Prokofiev famously collaborated on 'Alexander Nevsky,' their creative partnership extended to 'Ivan the Terrible' as well, for which Prokofiev also composed the score.

Explanation: 'Alexander Nevsky,' released in 1938, signified a crucial resurgence in Eisenstein's career following previous challenges and setbacks.

Explanation: The distinguished musical score for Sergei Eisenstein's film 'Alexander Nevsky' was composed by Sergei Prokofiev.

Explanation: The footage intended for 'Ivan the Terrible', Part III, was confiscated and largely destroyed, preventing its completion and release.

Explanation: While Eisenstein received numerous prestigious Soviet honors, including the Order of Lenin and two Stalin Prizes, he was never awarded an Academy Award for Best Director.

Explanation: Google honored Sergei Eisenstein by featuring him in a Google Doodle celebrating his 120th birthday on January 22, 2018.

Explanation: 'Ivan the Terrible', Part I, primarily focused on portraying Tsar Ivan IV as a figure of national strength and heroism.

Explanation: Released in 1938, 'Alexander Nevsky' served as a potent allegory and a timely warning regarding the escalating threat posed by Nazi Germany, drawing parallels to historical resistance.

Explanation: Following his death, Sergei Eisenstein's ashes were interred in the Novodevichy Cemetery, a prominent burial site located in Moscow.

Explanation: Eisenstein typically eschewed famous actors in his early films, preferring to cast untrained individuals from relevant social classes to enhance authenticity and focus on broader social themes.

Explanation: Eisenstein's extensive collection of erotic drawings was not publicly displayed during his lifetime. After his death, they were kept separate by his widow and later sold abroad.

Explanation: Eisenstein's seminal works, 'Film Form' and 'The Film Sense,' are primarily dedicated to expounding his theories on filmmaking, particularly montage, rather than focusing on biographical details.

Explanation: Eisenstein's pedagogical approach at VGIK involved utilizing literary works for exercises and integrating political ideology into his teaching of filmmaking.

Explanation: While Eisenstein envisioned artists being supported by the state to foster creative freedom, he acknowledged the practical influence of budgets and producers within the Soviet film industry, thus rejecting the notion of complete freedom from financial constraints.

Explanation: Sergei Eisenstein died from a second heart attack on February 11, 1948, at the age of 50, following a previous heart attack in 1946. His death was not attributed to prolonged illness from his Civil War experiences.

Explanation: In his early cinematic endeavors, Eisenstein favored casting non-professional actors drawn from social strata relevant to the film's subject matter, prioritizing authenticity over established stardom.

Explanation: Following Eisenstein's passing, his widow maintained possession of his extensive collection of erotic drawings, which were subsequently sold internationally and have since been exhibited.

Explanation: Eisenstein advocated for a societal structure where artists receive state support, thereby liberating them from the pressures and constraints imposed by capitalist economic systems.