(film theory) Eisenstein's term for an effect in montage in which the juxtaposition of two shots (the Kuleshov effect), when these reflect some kind of conflict, has the potential to make an abstract concept tangible. For example, in Battleship Potemkin (1925), the poor treatment of the sailors is indicated intercut with shots of them filing into a mess hall with shots of maggots in the food that is being prepared for them. While a concept cannot be directly represented in an image, tensions and discord between juxtaposed images could stimulate an audience to grasp a conceptual connection by inference. This technique could be used to generate new political insights in audiences. Compare associative editing; continuity editing.