Kuleshov and Podovkins theories as mentioned in the previous post is applied to many films today. An example is from the Classic Hollywood film Bonnie And Clyde (1967), this film was apart of the 60s New Hollywood era which many believe shaped the future of films today and broke many so called "rules" in doing so.
Films prior to this era in editing terms used to follow a "dance" when cutting a scene together. For example a conversation scene would begin with a wide, cut to an over the shoulder, then the same for the other character followed by continuous shot reverse shot singles.
Podovkins theory has been applied to a scene in Bonnie and Clyde (1967). The scene in which Bonnie is questioning whether Clyde is who he says he is (an armed bank robber) so he pulls out his gun to prove it to her, there are simultaneous cuts between close ups of Bonnie and the gun until she strokes his gun in a sexual manner, it then cuts to Clyde's reaction in which he is smirking as she would now believe him. This cutting back and fourth from an object in juxtaposition, in this case the gun, causes the audience to make a psychological connection between Bonnie and the gun as without her saying a word, it is clear that she envies the power and swagger of carrying the gun.
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