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There is no unified theory of montage in Eisenstein, Aumont acknowledges. However, an underlying montage principle informs all aspects of his theory, not only his ideas about relationships between shots, but also his ideas about the individual shot itself, the relationship between sound and visual montage, acting style, and even spectator response. It is related to Marxist dialectic, which it connotes, and is a manifestation of Eisenstein's universal principle of opposition and unity. Once one gets past a biographical introduction that is labored and pretentious (the translators may be partly responsible for this), one discovers an unusually thorough and close discussion of numerous key Eisensteinian concepts and of the development of his thought. The impact of political realities on Eisenstein's theory is treated, as are various criticisms by individuals such as B;ela Bal;azs and Jean Mitry. Numerous frame enlargements are included in a section that closely analyzes two segments from The General Line and Ivan the Terrible. Upper-division and graduate students.-S.L. Gaggi, University of South Florida