Eisenstein's early films, with their revolutionary themes and innovative style, received initial support from the Soviet government, which saw them as valuable tools for propaganda and social change. The atmosphere of the early Soviet Union was open to experimentation and avant-garde art.

As Stalin consolidated power, the political climate became increasingly restrictive. Socialist Realism was promoted as the official artistic style, and experimentation was discouraged. Eisenstein's work came under increasing scrutiny and criticism.

The banning of "Bezhin Meadow" marked a turning point in Eisenstein's career. The film was deemed ideologically unsound and formalistically excessive, reflecting the tightening grip of censorship and the pressure on artists to conform to the Party line.

The reception of "Ivan the Terrible" exemplifies the complex relationship between Eisenstein and Stalin. While Part I was initially praised, Part II was suppressed due to its perceived unfavorable portrayal of Ivan's psychological state and its allegorical implications for Stalin's own regime. This demonstrated the ultimate power of the political leadership to control artistic expression.