The question is whether propaganda films really exerted the influence over the public that many have long held unquestionably that they do. The Soviets certainly committed a surprising amount of scarce resources, although not as much as the filmmakers would have liked, to this novel form of propaganda, recognising the apparent potential of the medium of cinema for powerful, mass, political propaganda. Reeves contends that in many countries, including the UK and Soviet Republic, the power of film propaganda was simply assumed. Through the 1950s,politicians and commentators alike seem to have become only more convinced that the mass media in general, cinema in particular, provided a weapon uniquely capable of effectively moulding the ideology of the masses. Reeves further contends that empirical studies in Britain between the First and Second World Wars are primarily supportive of the power of film propaganda and the media to influence the general populace. Almost without exception inter-war studies stressed their enormous power, using metaphors like “hypodermic needle” or “magic bullet” to characterise that power in contrast to the weakness of the mass of people who, whether they liked it or not, received the messages which the media generated. While there have been more recent challenges to these findings, Eisenstein’s October is widely held to have had a profound impact both on the Russian people and foreigners in shaping their perception and understanding of the Bolsheviks’ rise to power.