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This paper contrasts the editing techniques of Sergei Eisenstein’s Battleship Potemkin (1925) with the continuity editing style of Classical Hollywood cinema of the 1930s. While Hollywood sought to invisibly guide the viewer through a linear narrative to maintain suspension of disbelief, Eisenstein utilized the "Kuleshov Effect" and intellectual montage to provoke emotional and political responses. By analyzing the "Odessa Steps" sequence, this paper argues that editing is not merely a technical assembly tool but the primary mechanism for generating meaning in cinema. Check with industrial film distributors such as CS