From the Paper:

"This paper is an examination of the theoretical shift which Russian filmmaker Sergei Eisenstein made in his epistemology of film. Eisenstein focused specifically on the essential importance of montage in the syntax of art, eventually changing his views on the role and purpose that montage plays in the creation and perception of a work of art. In his earlier writings, he sees montage, the ways in which images and other elements are combined by the artist and presented to the audience, as a conflict which should be designed to provoke specific thoughts. In his later writings, he began to view montage's purpose as a means of producing harmony and emotional response, beyond the specifically political. An epistemology is concerned with a way of knowing, and Eisenstein's theories of the way in which film allows the viewer to know changed from ..."

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