Nelmes’ section on editing in ‘An Introduction to Film’ delves into the movement of French New Wave cinema in regards to applying editing techniques to be able to change time and place in film with minimal sense of disruption to the viewer. This could be linked to Pearlman’s reading for being closer down the spectrum to decoupage. The text also expands on the prior theories by Dmytryk regarding the differentiation between Hollywood Montage and European Montage. European Montage is applied with intentions to progress events as opposed to Hollywood Montage’s using it as a way of giving emphasis or glorifying an event. This is an overall comprehensive and helpful piece.

Nelmes also offers a comprehensive chapter on Soviet montage cinema, Kuleshov, Eisenstein and Pudovkin, and their theories on film montage. The text explains that Kuleshov, becoming a teacher after the revolution, taught both Eisenstein and Pudovkin. This resulted in the two having similar styles, however their theories varied. Eisenstein believed conflict created the best impressions and therefore sought a collision of elements. Pudovkin, on the other hand, believed the shots are likened to build the sequence. He saw this as linkage, not conflict. Nelmes states that Pudovkin’s theory formula looks like shot A + shot B = shot AB, as opposed to Eisenstein’s resulting C. This text gives a great further understanding of the differences in theories between the two Soviet filmmakers.