![]() Shot sizes as this was seen to unsettle the audience, drawing attention to the editing and disrupting the viewer's immersion in the story. The rules of the continuity style were to avoid sudden changes in eg a shot of a crowd running in the direction of screen left would clash in the next shot with an image of the crowd running in the direction of screen right how did this contrast with Hollywood style was in complete contrast to the smooth continuity of the Classical Hollywood Style, where shot construction moved gradually from long shot to medium shot to close-up. ![]() he edited pieces of film so that the directional movements within juxtaposed shots clashed. eg he followed an extreme long shot of the citizens of Odessa running down the steps with an extreme close-up of the legs of a man on the verge of falling. how did he create optical conflicts by juxtaposing shots whose graphic elements visually contrasted. he tried to create some kind of visual conflict or discontinuity between the two shots, with the goal of creating a jolt in the spectator's psyche. how did he convey the assault of the crowds through a series of shocks. Although only 80 minutes long, Battleship Potemkin contains 1346 how many shots was in Battleship Potemkin average feature film in 1925 was 90 minutes long and contained around 600 shots. ![]() what is the story of Battleship Potemkin a mutiny of sailors from Russia's Black Sea fleet during the failed 1905 revolution. how many films did Eisenstein direct three silent films - Strike (1925), Battleship Potemkin (1925) and October (1928) - using a daring new approach to editing that radically departed from the conventions of the Hollywood continuity style. Griffith impressed by Griffith's use of editing techniques such as cross-cutting, but they believed that editing could be employed to much greater effect. His theories on the editing patterns which structureįilm narrative, known as "the Kuleshov effect", were based on a study of the Hollywood films of D.W. ![]() Who was the first theorist of soviet cinema Lev Kuleshov how did Kuleshov help to pave the way for Soviet Montage. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |