Montage (French: 'assembly') in cinema refers to the technique of editing shots in sequence to generate meaning that is greater than or different from each individual image. Soviet filmmakers of the 1920s — Sergei Eisenstein, Dziga Vertov and Vsevolod Pudovkin — developed montage theory as the central aesthetic of cinema. Eisenstein's concept of 'collision montage' held that juxtaposing two images creates a concept that exists in neither image alone (the Kuleshov Effect, demonstrated by intercutting the same actor's neutral face with different objects to produce apparently different emotions). His Battleship Potemkin (1925) remains the definitive demonstration. In contemporary cinema, montage refers both to this theoretical tradition and more generally to any sequence of images assembled for cumulative effect — the training montage, the time-lapse montage, the historical survey montage.