ABSTRACT
Sergei Eisensteinian montage develops an idea of cinema modelled on a structural differential chain where the value of an element is defined by the position it occupies in the chain. When Cinema is based on the illusionary mirroring-effect of reflecting reality through a camera, it inevitably reiterates a mode of visual interaction indebted to the empirical sciences. Eisensteinian montage develops an idea of cinema modelled on a structural differential chain where the value of an element is not defined by its properties but by the position it occupies in the chain. He relied on a differential notion of the relation among cuts/frames in order to elaborate an exact and calculated communication of ideas and affects in the language of cinema. The problem according to Eisenstein is precisely "the statics of the causal connection" between the objects of reality which invalidates Dziga Vertov's filmic project.
