Battleship Potemkin Response

Eisenstein's film Battleship Potemkin exemplifies many of his theories. He uses montage in a narrative fashion to make specific events and images more powerful. He also inserts images of imaginary sights that move the film in the direction of depicting the idyllic inner-speech he wrote about.
When we first encounter the conflict, we are barraged as viewers with an explosion of images. We see the actions of tenderizing meat, oiling the cannon, ladling soup—the performer of these actions is insignificant. The movements are what connect the images—they are different types of motions but have a united rhythm. This momentum creates a tension between the different images and what they represent. The sailors reject the meat; the officers want it cooked. The sailors are preparing for potential mutiny. The cooks are following the orders of the officers and preparing the unwanted food. Without saying any of these things, the film evokes all these issues and conflicts.
When the tension culminates and everyone is on deck, Eisenstein uses another strategy to access the audience's inner-speech world. After the head officer says that he is going to hang all the dissenting sailors, we follow the sailors' gaze up to the mast, and with them, we too imagine canvas-covered bodies hanging eerily from it.
Finally, during the massacre scene, Eisenstein employs his technique he wrote about in which he shows the before and after of an image instead of the entirety of its unfolding. When the woman wearing glasses is shot, for example, we see her face before and after in what look like still images.
These techniques work to subvert the viewer's visual and narrative expectations. The editing communicates implicitly and through associations. In this way, he successfully begins to create a world of unspoken language and meaningful images.
Discussion Question: In what ways could Eisenstein's editing techniques have been more conducive with his theories and ideal of recreating the inner-speech world or the haiku?