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The porpoise of all this work is to tell a story. However it may be that you want to go about doing that, whether it be with seamless cuts or with a montage style, it's all in aid of telling a story. Without editing, you'd only have raw footage. Raw footage could never truly tell a good story, if at all. Especially after all the developments discussed here.

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Linear editing is the old method of editing. Usually if not always using actual pieces of film. You can only make cuts in the film to change time between shots. Film cannot be taken out and moved to a different place in the film easily. Time can only be taken out of the film. It can't be rearranged.

Non-linear editing is the editing we know today and allows all sorts of cuts to be made. Separate pieces of digital film can be cut together and all sorts of intricate visual effects can be added.

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Continuity editing is the most prevalent form of editing around today. It forms a feeling of continuous time and space within the film. Cuts should be as inconspicuous as possible.

Montage editing is a more outdated method which is rarely employed today. It uses a kind of cross-cutting but within one scene. Cutting between faces and events is intended to create meaning by association.

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D.W.Griffith pioneered in many of the editing techniques used today - particularly heavy cross-cutting and close-ups.

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George Melies was a hero of his time and persevered in the production of A Trip to the Moon despite the issues he faced.

Thomas Edison brought an American theme Train Robbery to life with similar techniques to Melies, showing much promise 8 years after that old train slid into station.

Melies was the original pioneer of editing, discovering through serendipity that shots could be stopped and started during filming, creating a cut. He used this to his advantage by applying it to the use of special effects. He discovered this effect when his camera jammed.

Edison used it even better to show a story, using heavy cross-cutting. Often, footage would overlap, and the same thing may appear to happen twice. That problem would be fixed later.

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A 'moving image' was technically published before Arrival of a Train but it was very limited. With a very low frame rate and simple composition, it was more like a flick-book.

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Eadweard Muybridge Photographs of Motion

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First Motion Picture Horse, 1878 - www.pastfinder.de

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In 1878 Eadweard Muybridge photographed a horse named "Occident" in fast motion using a series of 12 stereoscopic cameras. The first experience successfully took place on June 11 at the Palo Alto farm in California. The cameras were arranged along a track parallel to the horse's, and each of the camera shutters was controlled by a trip wire which was triggered by the horse's hooves.

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Edison, 1903

A slightly more sophisticated film arrived after the train film, but they still had their blips.

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The Great Train Robbery [1903 Full Movie Silent Film]

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The Great Train Robbery is a 1903 American Western film written, produced, and directed by Edwin S. Porter. 12 minutes long, it is considered a milestone in film making, expanding on Porter's previous work Life of an American Fireman. The film used a number of innovative techniques including cross cutting, double exposure composite editing, camera movement and on location shooting.

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Arrival of a Train at La Ciotat, Lumiere Bros, 1895

Simply a train pulling into a station.

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The first movie ever made in history 1896 by "The Lumière brothers"

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Melies, 1902

A Trip to the Moon - created by George Melies _ was one of, if not the first, films to feature editing and effects. It was a massive step forward in the history of cinema.

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Le Voyage Dans la Lun (A Trip to the Moon) by Georges Méliès (1902)

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Early on in the start of cinema, there was no such thing as editing. Films were simply made of just a single shot. No cuts, no effects, no transitions, no real lighting. Just a scene and a camera.