In order to test the hypothesis that Soviet revolutionary films influenced American film makers' attitudes concerning the importance of form and structure through editing, this dissertation explores the areas of affinity and contrast between the two national cinemas during the period when Soviet silent films were originally released in the United States (1926-1935), Part 1, "The Theoretical Impact," sketches the cultural climate at that time, considers the extent to which Soviet concepts and theories of montage may be said to have influenced American film theoreticians, and traces revisions or developments of the montage principl in American cinema. Scholarly, professional, and craft sources are cited. Part 2, "The Practical Impact," examines certain American films in a comparative as well as analytic approach. The dissertation concludes that the range and magnitude of the interdependence of Russian and American films is greater than previously known. Appendixes include a filmography of all Soviet silent films released in the United States through 1935, with a chronology of release dates, and a summary of research material available in New York City concerning local censorship and the coverage of Soviet films in the daily press. (Author/JM)