In the late 1890, Ediwin Porter joined Thomas Edison in the film making laboratory. Porter is thought to be the first American Film Maker to put editing to use this is shown in his breakthrough film Life of an American Firemen in 1903. Porter realised that the screen image does not need to show a complete person from head to toe and that splicing together two shots creates in the viewer's mind a contextual relationship.
Around 1918 a Russian director Lev Kuleshov took Porter's theory and expanded and created what is now known as a Juxtapostion. He did this by taking a shot of a Russian actor and intercut the shot with a shot of a bowl of soup, then with a child playing with a teddy bear, then with a shot an elderly woman in a casket. When he showed the film to people they praised the actor's acting—the hunger in his face when he saw the soup, the delight in the child, and the grief when looking at the dead woman.
Orginally all Film Strips was cut by using a machiene called a Movieola, they then took the strips they wanted and cut out the bits they wanted and then they was put together into one strip to create a film.
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