Kuhle Wampe (Brecht and Dudow, 1931) is often noted as the first communist film produced in Weimar Germany and was produced by a collective of men, heavily involved in the formation and success of the Weimar cinema. The collaborative team consisted of Hanns Eisler, who composed the score for Berlin: Symphony of a Great City (Walter Ruttmann, 1927), Ernst Ottwald, a distinguished novelist and screenwriter, principal director Slatan Dudow who participated heavily in the production of Metropolis (Fritz Lang, 1927) and finally Bertolt Brecht. The aforementioned trio greatly influenced the industrialized environment that comprises the setting and narrative of Kuhle Wampe, however, fellow screenwriter and co-director Bertolt Brecht had very little experience in film production, aside from having contributed to the preparation of The Mysteries of a woman by Karl Valentin. Hairdressing Shop (1923). Brecht's influence on Kuhle Wampe manifested itself much more in the form of philosophical foundation, as he himself, at the time, developed his "materialist aesthetics" in an attempt to conceptualize the answer to the question: "what is art politics?" By putting together politics and artistic formulas, in this case montage, we can evaluate the messages that were conveyed through the use of montage and how it was used as a tool of political suggestion. From the opening sequence, Kuhle Wampe's stylization appropriates that of The Soviet Montage, of which Sergei Eisenstein's theories are based on the idea that montage originates from the "collision" between different shots in an illustration of the idea of thesis and antithesis. This basis allowed him to argue that montage is inherently dialectical, so it should be considered a demonstration of Marxism and Hegelian philosophy...... middle of the paper ......h the montage sequences in Kuhle Wampe. Works CitedBrooker, Peter (2004) “Keywords in Brecht's theater theory and practice” in Brecht. Eds. Peter Thomson and Glendyr Sacks. Cambridge University Press, pp. 185-200.Eisenstein, Sergei; Jay Leyda (translator) (1947). The cinematic sense. Hardcourt Brace and CompanyEisenstein, Sergei; Jay Leyda (translator) (1977) The Film Form: essays in film theory. Hardcourt Brace and Company Kracauer, Siegfried (2004) “Montage” [From Caligari to Hitler: A Psychological History of German Film (1947)] in German Essays on Film. Eds. Richard W. McCormack and Alison Guenther-Pal. New York and London: Continuum, pp. 181-189.Silbermann, Marc (1995) Slatan Dudow and Bertolt Brecht's “The Rhetoric of the Image: Kuhle Wampe or Who Owns the World” in German Cinema: Texts in Context. Detroit: Wayne State University Pp. 34-48.