This paper attempts to understand how the celebrated and controversial figure of Sergei Eisenstein understood and contributed to the formation of the Soviet Union through his films of the 1920s.  The lens of visual metaphors offer a specific insight into how artistic choices of the director were informed by his own pedagogy for the Russian Revolution.  The paper asks the questions: Did Eisenstein's films reflect the official party rhetoric?  How did they inform or motivate the public toward the communist ideology of the early Soviet Union?  The primary sources used in this paper are from the films Strike (1925), Battleship Potemkin (1926), October (1928), and The General Line (1929).  Eisenstein created visual metaphors through the juxtaposition of images in his films which alluded to higher concepts.  A shot of a worker followed by the shot of gears turning created the concept of industry in the minds of the audience.  Through visual metaphors, it is possible to understand the motives of Eisenstein and the Communist party.  It is also possible, with the aid of secondary sources, to see how those motives differed.