Abstract
It should first be remembered what editing is before defining its principal functions. To do this, I will make close references to Casablanca, to illustrate Hollywood continuity editing on one hand and to The Battleship Potemkin, as an example of Soviet Montage on the other hand. Indeed, the two films are strongly contrastive as far as editing techniques are concerned. Even if in both films, editing participates in the creation of meaning (along with mise-en-scène and sound) the effect on the viewer will be totally different.
