Film editing uses a technique known as montage which allows the production to become more interesting. This technique was a result of Kuleshov, a film teacher, experimenting with the editing of films. He came up with a new technique which was called montage. This term actually means to assemble. “Montage is composition, the assemblage of movement-images as constituting an indirect image of time” (Deleuze, Cinema 1: The Movement-Image 30). Kuleshov realized that putting together certain expressionless faces with an extremely expressive object could lead to the production of a wonderful shot. This is how the term came up.
Eisenstein was the student of Kuleshov and he wrote articles on montage. He was a filmmaker as well. Eisenstein suggested putting together different pictures of objects and faces such that they would symbolize something or become meaningful. He wrote a lot on this topic and later in 1925 the film The Battleship Potemkin used his concepts. The montage style provided with a discontinuity in the image qualities. According to Eisenstein the films become meaningful when their shots actually collide. When this happens the viewer tends to see each of the images together which makes him come to a conclusion regarding the message being given through the film. Deleuze writes that: “We take snapshots, as it were, of the passing reality, and, as these are characteristics of the reality, we have only to string them on a becoming abstract, uniform and invisible, situated at the back of the apparatus of knowledge” (Deleuze, Cinema 1: The Movement-Image 2). Regarding Eisenstein, Deleuze says that he is the “chief theorist and practitioner of the dialectic tendency in montage” (Bogue 52)