Assess students' ability to analyze montage theory and its political implications in early Soviet cinema through primary texts and close readings of representative film sequences—Kuleshov’s experiments (the Kuleshov Effect), Eisenstein’s dialectical montage (e.g., Strike, Battleship Potemkin), and Vertov’s Kinoks and Man with a Movie Camera. Tasks: identify formal techniques, compare competing theoretical positions on montage and spectatorship, and evaluate how montage functions as ideological persuasion; include short analytical responses and a comparative essay.