Editing was born at a time of profound historical change: industrialization, the fast pace of city life, technological advances, and the feeling that the world was changing faster than ever. This fragmented environment inspired a new way of telling stories — through cuts, juxtapositions, and visual shocks.
In many ways, editing mirrors modernity itself. In factories, assembly lines organized work into fragments; in cities, urban life was made of quick, scattered encounters. It’s no coincidence that artists like Charlie Chaplin satirized this logic in Modern Times, portraying a man swallowed by the gears of industry, while cinema itself was becoming a great mechanism of fragments.
But editing was not just a response to industrial life. It also became a powerful political and aesthetic tool. Soviet filmmakers such as Eisenstein saw editing as an instrument of revolution. The collision of images was not only meant to stir emotions but to spark critical awareness. For them, cinema should not merely reproduce reality — it should transform it.
Meanwhile, in Hollywood, editing followed another path: transparency. The goal was to create “invisible cuts” that gave viewers the illusion of perfect continuity, as if nothing intervened between one scene and another. This is the so-called “classical découpage,” which still dominates much of mainstream cinema today.
This duality — between cinema that exposes its mechanisms and cinema that hides them — still resonates with us. Whether in the fast-paced YouTube videos, the sharp edits of streaming series, or the long takes of auteur films, editing remains a mirror of how we live, feel, and tell stories in the accelerated flow of the modern world.
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