Kino-eye films are, therefore, subjected to montages from its initialization until the film's release because it is edited during the entire process of production. In sum, these two montage styles have stark differences. Nevertheless, both have their merits and significances in explorative creation of formalistic films.
Eisenstein's exploration in creating montage is a byproduct of juxtaposition. He believed in the specific meaning created in the minds of the audience, of the juxtaposition of two images, which was solely due to their juxtaposition and not to the content of the individual images. So for Eisenstein, each image was fundamental building block cells (raw materials). By utilizing different kinds of conflicts such as conflicts of direction, shape, volumes and light, he could create definite meanings and ideological messages through form, especially through use of adroit juxtaposition of shots in the film. For example, in "The Battleship Potemkim", the juxtaposition of descending faceless soldiers with close-ups of civilians, pleading mothers and other members of society powerfully convey a message of repression whilst scenes of explosion at the palace are juxtaposed with statues of lions on the gates that appear to rise up suggesting the awakening of a revolutionary spirit. This example well embraces Eisenstein's techniques in capturing conflicts of planes, volumes, lights and tempo added with visual metaphors that enable the consciousness of audience to leap to awareness with the newly exploded meanings. In contrast paradigm, Vertov has successfully achieved a montage of rapid imagery and rhythm in the film "Man With The Movie Camera". By constructing montages of various daily life images of the Russians, he was able to draw realities that are unnoticed by the imperfect human eyes. Vertov, especially, has adequately used movement and intervals of the images to bring about "rhythmical artistic" style to delineate the enlightening perspectives of lives and realities to provoke social transformation.