The film has both geometric and organic shapes, but the later are dominant, to emphasize the imperfections of nature, which is rife with organic shapes, unlike inorganic shapes, which are perfectly aligned. The film is also dominated by negative shapes that represent voids, alluding to the afflictions of the Hebrews in bondage, as well as the numerous hardships they endured on their treacherous exodus to the Promised Land. In cinematography, space or depth often refers to distance or the illusion of it, and the film’s cinematographer has managed to create the illusion of depth in numerous ways.
For instance, apart from using lines and lighting, the cinematographer has placed objects/subjects in the foreground and in mid-ground, as well as in the background of the frame. Furthermore, movement of objects within the frame has also been used to emphasize the illusion of depth. For instance, objects become smaller when moving from the foreground to the background but larger when moving from the background to the foreground, thus yielding a sense of depth (‘Exodus: Gods and Kings’). Texture generally refers to what something feels like when it is touched, and objects are often described in terms of their roughness, smooth, and silkiness, among other terms; however, texture is conceptualized as the graininess of an image in photography.
In this film, texture has been suggested through the film’s visual design, which has been manipulated to yield graininess in the pictures. Consequently, grain in turn produces patterns and shapes that eventually yield an illusion of varying textures in the film; one can almost think that there is an actual texture on the surface of the film, but that is not the case(‘Exodus: Gods and Kings’).
The film has given emphasis to some visual elements thereby allowing them to receive more attention than others; for instance, the film conjures a mighty and momentous spectacle that rivals all other lavish cinematic visions of ancient times beheld before (Lemire, ). Most of scenes such as the partying of the Red Sea, and the plague scenes are nothing short of awe-inspiring and they cannot be ignored, because they are visually imposing to the audiences (‘Exodus: Gods and Kings’).
The film has strong visual contrasts of lights and darks, hard and soft, solids and voids, as well as large and small. Contrast has been used effectively in the film, to create edges and lines, which eventually focus the viewers’ eyes on the points of emphasis on the visual composition of the film.
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