Assess students' ability to analyze and compare how Eisenstein's montage theory and Hitchcock's suspense editing construct spectator positioning and produce ideological effects. Require close reading of at least two film sequences (one Eisenstein, e.g., Strike or Battleship Potemkin; one Hitchcock, e.g., Rear Window, Psycho, or Vertigo), identification of specific editing techniques (collision/intellectual montage, shot duration, POV and temporal manipulation), explanation of how these techniques shape identification, collectivity, and ideological meaning using Marxist and psychoanalytic frameworks, and a critical evaluation of competing claims about agency and manipulation supported by primary film evidence and at least two secondary sources.