As per this article, films have been depicted as embodied, communicated, and enforced. The article further depicts and suggests meanings to film theories who in turn consider that film is inclusive of visual Esperanto language. The article’s critique depicted how the grammar in the film, its related vocabulary and even its general terms are responsible for making it more viewable in the eyes of the audience. Those regarding film as a language often depend upon the analogousness between words and shots. Stringing words simply do not result in producing intelligent visual art works. The article also cited Pudovkin and Eisenstein. These authors raised questions on what more can be offered than the mere photographic reality that is needed to transition the new resources technically present. This converts them into a unique kind of new art. The reply given by them was montage. The reply is montage in the sense, that it combines film pieces art or large units short in sequence to complete the film finally. The article also discussed various films such as “The birth of a nation” and “Intolerance” by Griffith for whom the directors of Soviet have acknowledged more debt. This debt as depicted in the films was not essential, as he had the capability to take better images than anyone else. This was essential as this led to have montage discovered. This was a technique to indicate total range of shots across fluid integration. In turn, it reflects images from close up extremes to panorama distances in order to produce the most sequential form of coherent narration. In turn this coherent narration has most systematic implication and the most efficient pattern for rhythm. When this was performed, as illustrated in the article, Griffith contributed to cinematic language development and invented the film distinctive art. From this perspective, it can be said that the article illustrated distinct types of film techniques such as the use of Montage and photographic elements. The article also critiques the way in which different authors have critiqued these techniques. For example, Eisenstein considered conflict as essential, because he regarded it as an expression. The expression was present in the images realm related to dialectical principle for Marxism. Eisenstein further maintained that with simplicity in the meaning of the sentence comes the use of simple individual words. This in turn depicted meaning of cinematic nature as the consequence of shots related dialectical interplay. Pudovkin, meanwhile, on the other hand, holds the view that montage is a technique to build and add to each other which merely has a theoretical interest. Such a theory resulted in the production of real narrations with more deliberately calm pace. Such differences helped in bringing forward critical analysis and reflection on filming techniques.