Eisenstein develops his theory of montage, arguing that the meaning of a film is not inherent in individual shots but arises from their juxtaposition. He proposes various types of montage, including metric, rhythmic, tonal, overtonal, and intellectual montage, each serving a different purpose in creating emotional and intellectual impact.

Eisenstein publishes a seminal essay, 'The Dramaturgy of Film Form,' outlining his theoretical framework for montage and its application in filmmaking. This essay becomes a cornerstone of film theory and a major influence on subsequent generations of filmmakers.

Eisenstein further develops his concept of intellectual cinema, arguing that film can be used to convey abstract ideas and philosophical concepts through the strategic juxtaposition of images. He believes that montage can create a dialectical process in the viewer's mind, leading to new understanding and insights.

Eisenstein consistently applies his montage theories in his films, using rapid cuts, contrasting images, and symbolic juxtapositions to create emotional intensity and convey his ideological message. His innovative use of montage revolutionizes filmmaking and establishes him as a pioneer of cinematic language.