Marxist film theory is an approach to film theory centered on concepts that make possible a political understanding of the medium.
Sergei Eisenstein and many other Soviet filmmakers in the 1920s expressed ideas of Marxism through film. In fact, the Hegelian dialectic was considered best displayed in film editing through the Kuleshov Experiment and the development of montage.
While this structuralist approach to Marxism and filmmaking was used, the more vociferous complaint that the Russian filmmakers had was with the narrative structure of the cinema of the United States.
Eisenstein's solution was to shun narrative structure by eliminating the individual protagonist and tell stories where the action is moved by the group and the story is told through a clash of one image against the next (whether in composition, motion, or idea) so that the audience is never lulled into believing that they are watching something that has not been worked over.