How is Soviet montage is revolutionary With the reference to the work Essay

How is Soviet montage is revolutionary With the reference to the work of Soviet Russian film directors Sergei Esienstein and - Essay Example The creation of expression with culture and politics as well as the understanding of how to use specific techniques in this time period were all associated with the construction of the film. While both directors had specific styles, there were more associations with the new creation of film and the experimentation of how one could communicate specific messages to the viewers. Defining the Soviet Montage The concept of the Soviet montage began in the 1920s with the focus on editing specific scenes within movies and combining this with other scenes to create fractured images for the overall plot line. This specific concept emerged out of the Russian Revolution of 1917, which was based on the objection to socialism. The propaganda of socialism was the main component; however, many began to overlook this and believe that the values of socialism were a detriment to society and would lead to strict rules and regulations within society, as opposed to building a stronger ability for citizens to work within society1. The symbolic objective which was established was based on having a free flowing thought of narrative, as opposed to a strict establishment, such as many believed was a component of socialism. This was followed by combining the plotline into one which didn’t require techniques to be consistent or for the plot line to have the established, chronological order that was expected within cinema2. The concept of revolution in the montage was one of the most important factors in using this technique. While this was based on methodologies and techniques for the arts, film producers considered it a way of getting a message across based on the Russian Revolution as well as the politics and economy of the time. The meanings which were established through the broken edits created a political and intellectual agenda that those in the Soviet region could look at and change their understanding about. The narrative and content that was used became important in establ ishing a sense of a political and intellectual revolution, specifically which was believed to be a vehicle for social change. Most of the content which was used in this form was able to take place in an abstract way. However, the meaning which was established allowed for the meaning to relate to the political and economic difficulties of the time, specifically which linked to the voice that was based on the revolution of Russia3. The first historical presence of the montage began with editing between scenes, specifically which would move from long shots that would be followed by a cut in black. This would then lead to a narrative flow that would link specific types of vocabulary and philosophies that were within a specific film area. The main ideal was to create a sense of space, which then held some connections but was able to move into a different narrative direction within the film. As this evolved, it moved into specialized techniques, such as mise-en-scene, where movements were the main component linking together the edits, while the narrative was able to continue in the same direction4. The rules which were established included an established shot in a specific scene, followed by a long shot to create a sense of orientation of where one was as well as to position the performers and objects. This was known

Architecture of the Pantheon and its History Essay

Architecture of the Pantheon and its History - Essay Example The ancient look of the porch provides no clue of the surprise inside, which is planned as an inside space of huge size. WWW.BDONLINE.CO.UK. Picture by Gareth Gardner. Author: Renato Benedetti. June 2010. Issue: 1919. The Pantheon. Arch. Marcus Agrippa. Rome, Italy. 27 B.C. The inside of the dome is furnished with five concentric circles of deeply-sunk coffers, 28 in each ring. At the top of the dome is an oculus (8.2 meters in diameter), the only means of the natural light illuminating all the corners of the dome internally. The building is totally made of concrete, the overall attentively selected from the heavy travertine and tufa of the lower walls, through tufa and brick, brick only, and brick and pumice, to pumice only near the oculus. As it reaches the top level, the shell of the dome shrinks in thickness (â€Å"Pantheon†). The Pantheon is an architectural wonder constructed 2000 years before. One can- WWW.BDONLINE.CO.UK. Picture by Gareth Gardner. Author: Renato Benede tti. June 2010. Issue: 1919. The Pantheon. Arch. Marcus Agrippa. Rome, Italy. 27 B.C. -not remain untouched by the marvel of this dome that impresses one and all alike. It is equally magnificent now and at the time when it was built. It is not easy to find buildings spanning 2,000 years and standing still with reverence in the eyes of visitors for its architectural finesse; what more, it is still in use. The Pantheon attracts visitors from all the nook and corners of the world, wondering at this marvel of architecture while sitting on the stairs of the Pantheon for 2000 years (Benedetti 15). The Pantheon creates an impression of a building belonging to some other planet; such a feel comes from its craftsmanship. It gives the visitors an impression of strength, which comes from the innovative design of the Pantheon. The view of the building is just magical, particularly in black and white as in the picture above. For example, the use of concrete has been made innovatively, requiring thin layers of concrete to minimize weight and stresses in the top layers of the dome. The dome of Pantheon is till now the only single biggest non-reinforced concrete dome. Behind its huge brick walls lay a line of alleviating arches that add to its finish and body image. The humongous bronze doors are functional. It is because they are standing on pivots that provide increased strength relatively to a hinge. It seems each pivot must be as heavy as a small house (Benedetti 15). WWW.BDONLINE.CO.UK. Picture by Gareth Gardner. Author: Renato Benedetti. June 2010. Issue: 1919. The Pantheon. Arch. Marcus Agrippa. Rome, Italy. 27 B.C. All the buildings around the Pantheon are newer. It is surrounded by tight lanes of the increasingly populated baroque city, offering tempting scenes. The front portico is spacious enough to accommodate the visitors to breathe with the Piazza della Rotonda. The main front leads the piazza with its magnificent gable and the 16 huge grey Egyptian granite colu mns; these columns add grace to the Pantheon although they are in plenty in the city. Whichever path one takes to reach the Pantheon, the size of the drum and humongous columns is sweeping (Benedetti 15). WWW.BDONLINE.CO.UK. Picture by Gareth Gardner. Author: Renato Benedetti. June 2010. Issue: 1919. The Pantheon. Arch. Marcus Agrippa. Rome, Italy. 27 B.C. A close-up look of the huge columns kindles a feeling of relative