I'll add my two cents to the slashed glasses thread below. But while we're on the subject of the Odessa Steps Sequence I'm curious how others of you deal when teaching beginning students with such images as: 1) the mirror next to the bespectacled witness (Eisenstein?) 2) the lighted pathway/reflection leading up the steps walked on by the woman carrying her son 3) the swan on the belt of the woman with the baby carriage. I have a certain amount of fun with thefirst two items in teasing my students about their predilection for logical rather than graphic reasons for the presence of certain images. As for the glasses, I relate them to the frequent images of seeing/witnessing in the film that go back to the doctor's refusal to see the maggots on the meat and their metonymic use during the mutiny. In the Steps sequence I see the slashed eyeglasses as thewoman's"punishment"for having witnessed the massacre and as in Andalusian Dog I suggest that the viewer's eye is being metaphorically slashed as well. The four images of the cossack slashing with his sword seem to rhyme with the four images of the woman doing in effect a triple take that starts the sequence. I agree with the screen-l contributor that in the absence of standard continuity it would be improper to speak of jump cuts in this sequence, as jump cuts presuppose the establishment of classical geographic continuity. liz weis cuny ---- To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L in the message. Problems? Contact [log in to unmask]