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The fondness for fragments can be traced back largely to Sergei Eisenstein in the 20s, when famous set pieces began to define the art of cinema in many mindsthe Odessa steps sequence in Potemkin (1925), the bridge-raising sequence in October (1927), and the cream-separator sequence in The General Line (1929), all eventually supplanted by the shower-murder sequence in Alfred Hitchcocks Psycho (1960)

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