Of course, theoretical self-promotion is no insurance of being taught as
a filmmaker. A classic point in question is Lev Kuhleshov. His theoretical
work is, of course, standard intro. class fodder, at least secondhand if
not in the primary text, but his films are rarely taught. I am a great
admirer of BY THE LAW, Kuhleshov's version of a Jack London short story,
and am intriqued by the way that films like A ROSE FOR MARY PICKFORD pre-figure
 the appropriative aesthetic that is so central to much contemporary filmmaking.
 Kuhleshov's relation to American popular culture is more complex than
either Vertov's dead dismissal or Eisenstein's overvalued writings on
Disney, Chaplin, Griffin and Ford. He wanted a way to harness the power
of popular culture towards radical political change. I think the time has
come for us to rediscover him and his films.
--Henry Jenkins