Shapes and lines are all read by the audience, whether or not the director thinks they are 
relevant. The audience is making assumptions about characters and atmosphere within seconds of the frame being shown. As Kuleshov states, 70% of the meaning is in the image so this is a key area to think about when composing a frame. Shapes and lines can be shown in the foreground of the background and the cameraman creates shapes in order to represent certain characters or atmospheres.
If a character is shown sitting to the left of the frame with a circular desk lamp on a table next to them this shows that they are on the “hero” side of the screen and the circle represents reliability. This type of shot can often be used in news interviews when portraying a reliable and slightly heroic
politician. In contrast, if a character is shown to the right hand side of the screen and there is a circular desk lamp with a blind covering it this could mean very differently. This shot may show the subject as being slightly villainous and the circle covered by blinds can create an unreliable theme, as well as also being used to signify cell bars showing desperation and isolation.
Lines in the frame also have a huge effect on the audiences’ attitude to the scene. Horizontal lines tend to represent a restful, oppressive and calm scene; this ensures the audience feels some sort of stability. This could be used to settle the audience, possibly in a thriller so that a shocking event can happen which will unsettle the audience. Perpendicular lines express dignity and grandeur; this will lead the audience to feel some sort of insignificance comparatively. Diagonal lines express a sense of movement;
this is often used in the climax to action to exaggerate the movement aspect. Curved lines in the background represent some sort of femininity or intimacy; this would ensure the audience feels some sort of coziness and may help the audience to form a bond with the character on screen, this might also help the audience to engage with an enigma on screen. Straight lines help to represent strength, sternness and formality; this creates a uniform in which the audience may feel settled in. Broken lines represent a huge amount about the image as well, they represent informality and disorderliness in the frame, this may prompt a feeling of craziness and unsettledness from the audience. Zig Zag lines can often be found in any frame either where drama is about to take place or just has taken place, they represent danger and hazard.
Another case of shapes and lines to consider is the x and y-axis. These are lines, which go horizontally and vertically through the screen. The x-axis goes vertically through the screen. The x-axis runs horizontally through the screen and controls what the character is perceived as. If they move from left to right the right this will put them in our eye’s comfortable direction of movement, this makes them seem more comfortable and heroic. Whereas if they move from right to left they will appear uncomfortable and unsettling because this is not the way our eyes are used to go. The y-axis moves vertically through the screen, a character’s position on this line can have a huge effect on what the audience perceives of them. If they ascent up the line this will suggest potential difficulty in the future. Whereas if they descend down the line, this suggests their path may be easier in the future. The z-axis is the third line that runs through the screen, however the z-axis line exists only in 3D image. If the character moves into the distance and gets smaller, this would suggest that they are becoming more insignificant. If the character disappears into blackness then this would suggest that in the future they may encounter some difficulty. If the audience comes closer to the camera this may signify that they become more significant to the audience. The direction they go into the distance can also effect what the audience thinks of them. If they disappear into blackness and go towards the right hand side of the screen then this may signify that they may move towards the uncomfortable side. Whereas if they disappear into blackness and move towards the right hand side of the screen they this may mean that they become comfortable in the audience’s mind. A director may use this rule of composition in a pop video at the end if they are trying to portray how the band will become in the future, whether they will move to the right side of the screen or the left and how along the y or z-axis they become. If they ascend up the y-axis this could signify their rise to fame in the future.
relevant. The audience is making assumptions about characters and atmosphere within seconds of the frame being shown. As Kuleshov states, 70% of the meaning is in the image so this is a key area to think about when composing a frame. Shapes and lines can be shown in the foreground of the background and the cameraman creates shapes in order to represent certain characters or atmospheres.If a character is shown sitting to the left of the frame with a circular desk lamp on a table next to them this shows that they are on the “hero” side of the screen and the circle represents reliability. This type of shot can often be used in news interviews when portraying a reliable and slightly heroic
politician. In contrast, if a character is shown to the right hand side of the screen and there is a circular desk lamp with a blind covering it this could mean very differently. This shot may show the subject as being slightly villainous and the circle covered by blinds can create an unreliable theme, as well as also being used to signify cell bars showing desperation and isolation.Lines in the frame also have a huge effect on the audiences’ attitude to the scene. Horizontal lines tend to represent a restful, oppressive and calm scene; this ensures the audience feels some sort of stability. This could be used to settle the audience, possibly in a thriller so that a shocking event can happen which will unsettle the audience. Perpendicular lines express dignity and grandeur; this will lead the audience to feel some sort of insignificance comparatively. Diagonal lines express a sense of movement;
this is often used in the climax to action to exaggerate the movement aspect. Curved lines in the background represent some sort of femininity or intimacy; this would ensure the audience feels some sort of coziness and may help the audience to form a bond with the character on screen, this might also help the audience to engage with an enigma on screen. Straight lines help to represent strength, sternness and formality; this creates a uniform in which the audience may feel settled in. Broken lines represent a huge amount about the image as well, they represent informality and disorderliness in the frame, this may prompt a feeling of craziness and unsettledness from the audience. Zig Zag lines can often be found in any frame either where drama is about to take place or just has taken place, they represent danger and hazard. Another case of shapes and lines to consider is the x and y-axis. These are lines, which go horizontally and vertically through the screen. The x-axis goes vertically through the screen. The x-axis runs horizontally through the screen and controls what the character is perceived as. If they move from left to right the right this will put them in our eye’s comfortable direction of movement, this makes them seem more comfortable and heroic. Whereas if they move from right to left they will appear uncomfortable and unsettling because this is not the way our eyes are used to go. The y-axis moves vertically through the screen, a character’s position on this line can have a huge effect on what the audience perceives of them. If they ascent up the line this will suggest potential difficulty in the future. Whereas if they descend down the line, this suggests their path may be easier in the future. The z-axis is the third line that runs through the screen, however the z-axis line exists only in 3D image. If the character moves into the distance and gets smaller, this would suggest that they are becoming more insignificant. If the character disappears into blackness then this would suggest that in the future they may encounter some difficulty. If the audience comes closer to the camera this may signify that they become more significant to the audience. The direction they go into the distance can also effect what the audience thinks of them. If they disappear into blackness and go towards the right hand side of the screen then this may signify that they may move towards the uncomfortable side. Whereas if they disappear into blackness and move towards the right hand side of the screen they this may mean that they become comfortable in the audience’s mind. A director may use this rule of composition in a pop video at the end if they are trying to portray how the band will become in the future, whether they will move to the right side of the screen or the left and how along the y or z-axis they become. If they ascend up the y-axis this could signify their rise to fame in the future.
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