The Odessa Steps Sequence

The lines along the headdress and cloth lead you toward the head, or focal point of this sphinx. Lines are also used to separate the king's head from the lion body. Lines are used to draw you into one point and help suggest the mass or volume of this sphinx. Since this is a three-dimensional figure the lines are implied unlike the defined ones in a two-dimensional figure. As you follow the lines you encounter the oval shaped head and thin lined eyes which are curved to show aging and are shaped as a geometric almond.

Compare the ways the distinctively visual is created in Crouching Tiger, Hidden Dragon and in one other related text of your choosing.

The three pieces are laid out diagonally starting with the photograph at the top right corner, moving on to the middle piece which the arm in the painting is long and smooth and makes the piece flow from the first piece right through to the bottom and then finally finishing at the bottom left with the last piece. Line is one part that makes these pieces particularly work together as the thin lines flow through each piece somewhat connecting the three together. In

As indicated by the shape in the foreground, the lines that signify the contour of the rocks and freestanding structure merge. The lines lead the eye vertically as it meets the center. When looking at the painting as a whole, the viewer can see how the artist uses straight

The first technique he uses accomplishes the viewer to take a second look and pay attention, he uses what’s called scale distortion. As we take a second glance we notice that have an overly exaggerated girl, which appears to be almost too large in contrast with the building that is off in the distance. We try to rationalize that she could be standing on top of a ledge, overlooking the white building, but it is still unclear. She could be parallel with the white structure we see pictured, but that doesn’t make much sense considering the composition., as our eyes try to adjust it only causes even more confusion.

4. Space- Perspective is demonstrated in many ways. This artwork takes up almost the whole canvas. The horses on the edge look like they were maybe even squeezed in. All of the characters in this artwork look to be congregated to the middle of the painting, besides the villages in the distance. Linear perspective is used in the placement of the villages in the background and in all the men and horses, which are grouped in the middle of the screen. Looking at the features in the painting I notice the use of overlapping and vertical placement, which both imply depth. The horses overlap each other as well as the gentlemen and other elements of the painting. The brown horse’s head overlaps the black one hiding its mouth. The villages and hills in the background appear to be very far away (diminishing size); they look smaller and distant from the rest of the main aspects of the painting.

The couple positioned in the front appears very large to make the painting 3-D. The relative size of the dancers drastically shifts to create a window into the painting. The viewer can imagine being a part of the event and watching the poverty-stricken dancers. The angle that the painting is at appears to be almost a bird’s eye view. This adds to the effect of feeling as part of the audience. Spatial features are also added with overlap making figures look even more distant. Almost everything can be seen all the way to the back of the painting as the lighting in Dance Marathon spreads equally throughout the painting. Many lamps hang from the ceiling to give it a sense of many sources of light and to distribute the light evenly.

From the moment the viewer observes The Indian Triumph of Dionysus it can be noticed that open space is lacking on the 3D sculpture. What makes this highly noticeable upon first looking is the deep cuts that are created to help the individuals stand out. Usage of deep cutting can be referred to as high relief. Unlike low relief, high relief purposely projects its subjects from the background. The way this can impact the spacing of the sculpture is by making it appear it has less due to the 3D aspect standing out from the background. Another way a lack of space can be noticed is with the overlapping of forms. On the left side of the sculpture one of the best examples of the overlapping can be seen where captives riding an elephant are placed in front of multiple individuals. While not proportional to the rest of the humans on the piece those who are on the elephant the overlapping area display the intricacy of the work that went into creating a reduced space on the stone. By having all the characters on the sculpture overlap each other

The figures occur equally in the composition with the stag as the center of focus, a man on either side of the stage facing each other, and a dog in front and to the left side of the stag. The equal displacement or unity of the figures makes nothing appear out of place, or jump out to the viewer. This is also because the piece is arranged to give the viewer a straight on perspective. Overlapping is a large component of the piece. For example, the stag is placed in front of both men and the dog in front of the stag.

These are evenly placed on the two outermost section of the hotel, which is broken vertically and horizontally perfectly into thirds. The Foreground, mid, and background are almost literal representations of the very essence of the rule of thirds. In combination with the vertical divisions; the three defined front portions (left of stairway, section center, and right of stairway), the three portions of the front, the three arches and the three words “Grand Budapest Hotel) which all suggesting the neat, precise, and orderly nature of the

to dramatize the people’s massacre through the symbolized slaughter of the bull. The jump-cuts and non-diegetic inserts, the use of graphic patterns of lines and shadows, the contrasts between long shots of the enemy and close-ups of citizens, contrasts between shots from different perspective of the regular people and the Bolsheviks are some other of the non-traditional and signature characteristics of Eisenstein’s films. Presented from citizens point of view editing achieves sympathy and compassion at the audience accepting the Revolution as their own point of view of the historical event. The montage of unique rhythm and graphic elements creates a wholeness of the film structure and defines the specific style of of intellectual editing in Sergei Eisenstein’s works and his propaganda vision.

A man and woman are walking over the bridge while a dog is walking toward them, and another man is gazing out in the water. In this painting I have three orthogonal lines starting with the first one on the top corner of the building on the left side. This line then follows across the roofline, down through the man walking’s neck, through the woman’s skirt. This line then finishes on the cement and ending on the shadow of the dog. Orthogonal line two starts at the end of the bridge railing on the bottom right side. The line then continues down the railing, crossing through the old man in green and through the woman and man walking near each other. This line will end on the building in the left corner and right above the buggy by finishing on the building. The third and final line starts along the sidewalk on the bottom left side, leading up the sidewalk and going through the man’s coat, head and hat, while ending on building in the middle of the painting. The vanishing point leads us to the man that’s walking’s head while he is looking away at the water. This vanishing point pulls the focus of the painting on the man and also the women next to him on the bridge.

The officers are shown to be dimwitted, as they fiddle with their mustaches, while the sailors are enraged at the meat they are being fed. This is contrast because the sailors represented the people that were directly affected by the revolution and the sailors constructed the people as strong and ready to fight. On the other hand, the officers made the government look responsible, since they were blamed for social and political anarchy in 1905, during the revolution. The officers were shown as being weak and not fazed by the problems that were being faced by the Soviet people. The sailors fought back and a deluge of montage is used make viewers feel on edge. The dark and light images manufacture feelings of discomfort, since the viewer is completely familiar with the turmoil that broke loose on the steps of Odessa by the use of contrast and montage, which is another example of socialist realism as the scene on the steps resembles the characteristics of socialist realism.

The scene was a cut of discontinuity. The scene used discontinuity editing to show the woman’s facial expression to demonstrate the pain of being shot. This made the crowd trying to escape from the gunfires. The escape was first shot in a medium shot, which creates a clear image of people running down the stairs. Along with some long shots of the entire crowd deserting, shows how terrifying the firearms have impacted the innocent people on the stairs. Different angles of the images were cut alternatively to increase the tension of how communist authorities had been constraining the people from their rights to gather around. Additionally, Eisenstein included some close up shots to give the image of people dying and kids sitting in the middle of the dead people. The scene then jump cuts to the soldiers in white uniforms walking down the stairs roll by roll, pushing the

Nearly every scene contains numerous examples of montage, and thus it is a particularly suitable case study for understanding how Eisenstein put his theory of montage into practice. Several examples are especially relevant. The symbol of the statue of Tsar Alexander III, which is initially tom down, but later reassembled through montage, provides a clear example of montage. Secondly, the significance of montage in the famous metal peacock scene in which Eisenstein compares the Provisional Government to a preening peacock demands analysis. Finally, in Eisenstein’s book on film theory, Film Form, he identifies the “sequence of the ‘gods’” as a distinct example of intellectual