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     It's a six-minute lesson in Eisenstein's montage technique, where our responses are steered and dictated by the unstoppable momentum of the editing. As the Tsar's soldiers march on civilians (an incident which never actually happened), the eye widens just to keep up with the action; the speed of the cuts and the frenzy of each frame makes it seem as though the action will spill from the screen. When the sequence ends with a close-up of a woman bleeding from behind her shattered glasses, it feels like a sick joke on what the images have done to us; we can well sympathise with the sensation of optical assault.