Eisenstein also mentions the "higher nervous activity" that accompanies perception of motion pictures (p. 225). The physical impact of visual imagery is poignant, according to Eisentstein. Motion pictures are visceral. Interestingly, Deleuze mentions the ability of film to create what the author calls "false continuity," (p. 207). As Deleuze notes, "It is not quite right to say that the cinematographic image is in the present," and therefore it should not be "confused with what it represents," (p. 207). In painting and other static forms of visual art, symbols are not as easily confused with what they represent because of the added dimension of motion. Whereas Eisenstein is concerned with relationships of dominance and subordination, Deleuze focuses on relationships between past, present, and future. Eisenstein uses montage to illustrate his ideas about how the brain interprets a moving canvas of images, and Deleuze discusses film in a more general sense. Yet Eisenstein's and...

Deleuze refers to "perceptual relinkage" just as Eisenstein emphasizes the links between images in a montage (p. 210).
Film is an active and intellectually engaged art form, and both Eisenstein and Deleuze champion the medium. Motion pictures capture attention, creating the illusion of true time and motion where neither actually occurs. Moreover, film can release flashes of sounds and imagery that the brain can piece together. Although the two authors approach their subject matter differently their core conclusions are the same. Film is a dynamic art form that can be manipulated to create meaning. Viewers draw parallels between the imagery they see on screen and their life experiences, much like a nocturnal dream divulges the psychological content of daily reality.

References

Deleuze, Gilles. "Thought and Cinema: The Time-Image"

Eisenstein, Sergei. "On Montage and the Filmic Fourth Dimension."