There is a film called “Strike” (1925)as well you have to watchto answer these as well. the link is 1. Using a brief summary of his intellectual background and training, explain how Hugo Munsterberg believes the human mind works, and what he believes to be the minds strength. What formal aspects of film highlight these mental predilections? In light of that, how does Munsterberg hierarchize mental processes, and which formal elements of cinema correspond to each type of mental process? 2. Explain what Rudolf Arnheim perceives to be the complete film. Describe Arnheims position on how cinemas unique strengths come from its greatest weaknesses. Elaborate on at least 3 of these strengths/weaknesses. For what purpose does Arnheim compare the film medium to waxworks? 3. Define dialectics with a description of both the form and content of Sergei Eisensteins theoretical writing. Explain how Eisenstein applies dialectics in filmmaking. What does Eisensteins theory see as the psychological effect of montage? Illustrate your answer with illustrative examples from the film, Strike. Describe Vsevolod Pudovkins perspective on editing to explain why it is similar but rather incongruent with the overall political and aesthetic objectives held by Eisenstein. 4. What does Eisenstein think of continuity editing conventions? By extension, what kinds of films were the Soviet formalists opposed to and why? Explain the relationship between Eisensteins theory of montage and his Marxist orientation. Explain how they saw montage as an antidote to the styles of filmmaking of which they were critical. 5. Although the Soviets are associated most closely with montage, all four of the theorists covered so far discuss editing in crucial but different ways. How does each of them specifically think about montage, and how does each of these approaches reflect the origins of their distinctive views about cinema?