Since the creation of films, their main goal has been to appeal to mass audiences. However, once the viewer looks beyond the appearance of films, they realize that the fundamental purpose of films is to serve as a bridge that connects countries, cultures and languages. This is because if you compare any two films from a foreign country or spoken in another language, there is a possibility of a connection between the two because they have a universal understanding or interpretation. This is true of French New Wave films; Contempt and Breathless directed by Jean-Luc Godard and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films depict an individual's role in society using sound and editing. Godard creates a unique editing style in Contempt and Breathless through the combination of long takes and quick cuts. Godard's use of these two editing techniques expresses two separate ideas regarding an individual's place in society. In Contempt, Godard's use of montage illustrates how an individual can exist separate from society. While in Breathless, the editing conveys the idea of ​​how society can isolate an individual. The use of jump cuts in Breathless and Contempt was an unconventional technique during the French New Wave and still is today because it violates one of the rules of classic Hollywood style. Jump cuts create “…discontinuities that the perceptual system will not ignore because the stimuli fall outside the accommodation intervals for perceptual continuity, so spatial coherence is lost” (Berliner). Even though jump cuts are not aesthetically pleasing, Godard uses them for the deeper meaning of the films. One of the main plot points of Breathless is... middle of the paper... well, it's those being isolated and not the characters. At the beginning of Contempt, Paul and Camille talk to each other but the dialogue is barely audible. This is caused by the use of diegetic music. In a way, this excludes the viewer from the role of voyeur, but it still creates greater interest because the film begins after their moment of intimacy. Works Cited Berliner, Todd and Cohen, Dale J. “The Illusion of Continuity: Active Perception and the Classical Modification System.” Journal of Film and Video 63.1 (2011): 44-63. MUSE project. Network. February 14, 2011. .Hill, Rodney. "New Wave meets Quality Tradition: Jacques Demy's The Umbrellas of Cherbourg." Cinema Giornale 48.1 (2008): 27-50. MUSE project. Network. 21 January 2011. .Wheeler Winston Dixon, the films of Jean-Luc Godard. Albany: SUNY Press, 1997.