example, the woman and baby are replaced with a woman in a bikini, Hitchcock explains: "What is he now? He's a dirty old man." The experiment itself was created by assembling fragments of pre-existing film from the Tsarist film industry, with no new material. Mosjoukine had been the leading romantic "star" of Tsarist cinema, and familiar to the audience. Kuleshov demonstrated the necessity of considering montage as the basic tool of cinema. In Kuleshov's view, the cinema consists of fragments and the assembly of those fragments, the assembly of elements which in reality are distinct. It is therefore not the content of the images in a film which is important, but their combination. The raw materials of such an art work need not be original, but are prefabricated elements which can be disassembled and reassembled by the artist into new juxtapositions. The montage experiments carried out by Kuleshov in the late 1910s and early 1920s formed the theoretical basis of Soviet montage cinema, culminating in the famous films of the late 1920s by directors such as Sergei Eisenstein, Vsevolod Pudovkin and Dziga Vertov, among others. These films included The Battleship Potemkin, October, Mother, The End of St. Petersburg, and The Man with a Movie Camera. Research The Kuleshov effect has only been studied by psychologists in recent years. Prince and Hensley (1992) recreated the original study design but did not find the alleged effect. The study had 137 participants but was a single-trial between-subject experiment, which is prone to noise in the data. Mobbs et al. (2006) did a within-subject fMRI study and found an effect for negative, positive, or neutral valence. When a neutral face was shown behind a sad scene, it seemed sad; when it was shown behind a happy scene, it seemed happy. More recently, Barratt, Rédei, Innes-Ker, and van de Weijer (2016) tested 36 participants using 24 film sequences across five emotional conditions (happiness, sadness, hunger, fear, and desire) and a neutral control condition. Again, they were able to show that neutral faces were rated in accordance with the stimuli material, confirming Mobbs et al. (2006) findings. Thus, despite the initial problems in testing the Kuleshov effect experimentally, researchers now agree that the context in which a face is shown has a significant effect on how the face is perceived. To find out whether the Kuleshov effect can also be induced auditorily, Baranowski and Hecht intercut