[citation needed] Sergei Eisenstein and many other Soviet filmmakers in the 1920s expressed ideas of Marxism through film.
The Hegelian dialectic was considered best displayed in film editing through the Kuleshov Experiment and the development of montage.
[citation needed] Eisenstein's solution was to shun narrative structure by eliminating the individual protagonist and tell stories where the action is moved by the group and the story is told through a clash of one image against the next (whether in composition, motion, or idea) so that the audience is never lulled into believing that they are watching something that has not been worked over.
[3] Eisenstein himself was accused by the Soviet authorities under Joseph Stalin of "formalist error", of highlighting form as a thing of beauty instead of portraying the worker nobly.
(1973), a Chinese Kung Fu film was transformed by redubbing into an epistle on state capitalism and Proletarian revolution.