Sergei Eisenstein - Film Form

In contrast to Lotman, Sergei Eisenstein seems to think that montage is the central element in film, or rather a sort of collision of two given factors that create a sort of concept. His friend and peer, Pudovkin on the other hand states that montage is a linkage of pieces in a film, or rather the building blocks of the central idea. The author of the article mostly seems to think that Einstein is more correct than Pudovkin in this discussion of montage (which it looks like they discuss a lot). Einstein will have us think that montage is absolutely not a simple matter of stringing shots one after another like a building block, which is much different from Lotman's way of thinking. Also according to Einstein, Montage is a "collision" of singular shots that are often opposite each-other that tend to generate significant responses from viewers. But he could never fully explain how any sort of real concept arises out of this collision for the sake of montage (which he seemed to really be into). The simple approach to portraying a collision followed by a concept is to make a sort of conflict for the viewer to follow along and get attached to. By which this said spectator "would either strengthen how political and social consciousness or jolt him out of his ideological preconceptions to look at the world anew."
Einstein apparently abandoned his belief that montage represented a "series of explosions in a combustion engine" and turned his definition to a sort of combination of ideas with shots that focus on one idea, and shot and framed in a a way that are meant to stimulate the viewers minds. Or that by simply cutting up the images of everyday lives and stringing them together a sort of story and thereby emotional response is the result. This article was interesting because it asked very hard questions. Einstein argued cinematography to be montage itself, and that the social arrangements we obtain in our social society are where the cinematographer gets his work material. We live in a materialist world that shapes our very consciousness. Therefore social backgrounds make up the way that film-makers put their shots together to create a sort of higher meaning or even a story.