 Radical Film Culture", Robé illustrates the Western Left's attempts to tone-down revolutionary language and psychoanalyze characters on the screen.Hanns Sach's essays "Kitsch"(1932) and "Film Psychology" (1928) are used here to demonstrate Kitsch's aesthetic distinction from the Realist project of the Soviet Union, and also to affirm Kitsch's ability to create a more powerful affect than realism ever could.As such, Sach argued, a psychological montage was recognizable in all films, even abstract ones which held no resemblance to classic Soviet cinema.