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THE COMPOSITIONAL CONSTRUCTION OF THE SHOT
43. Mid-shot. Eugene starts to run round. In the iheme the direction of his run across the frame is shown !the dotted arrow. The granite rock is taken in profile. 'he horse and Peter's figure are cut off by the edge of ie frame. The viewpoint is chosen in order to make :e railings the background of Eugene's flight.
44. The turn of the ' Brazen Horseman '. The first lase of the turn, through 75 °. The turn is achieved by rrying the camera in a circle around the monument.
45. Eugene runs round the monument from right
left. The viewpoint is taken from above, so that the
irve of the railings, seen in the left-hand corner of
te frame, visually duplicates the curve of Eugene's run.
46. Second phase of the ' Horseman's turn ', through further 75 °. As in shot 44, Peter's figure and the arse's muzzle are partly cut off by the frame limit.
47. Eugene runs across the frame from right to left, 'he viewpoint is taken from above, so that his figure is irown entirely against the background of the cobble:oned roadway. We exclude the horizon from the field f vision in this case, because if the flight were brought lto relation with the distant line of the horizon we rould not obtain the necessary effect of speed (this )mark also applies to shot 45).
48. Third phase of the ' Horseman's turn ', through further 75 °. With each successive phase of the turn the peed of shooting is slightly reduced, and in consequence ach successive phase shows an acceleration in speed of lrn when projected on to the screen.
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