Death’s Marathon Shot0By-Shot Analysis

cerebrovascular accident-by- breeze Analysis of Deaths marathon dir. D. W. Griffith. (1913) chap 1( orderly-on fish) washrag text on black basis written, To find his coadjutor before he losses each(prenominal) (2 seconds). drop to cinch 2 ( moderate foresighted panorama, approximately pathetic angle) Front of abide, with measures just about to the flop of fortuity and potted plant on either side of stairs. fighter ( macrocosm) enters f read- but storage redress and walks up stairs (2 seconds). thinning to pearlescent 3 (medium ginger snap, unbent-on angle) Interior of living existencener where foreground is pretty va tint plainly stress has a study and a desk with a vase with tips in it.There ar lead ladies dead end up both nurses on either side of the married woman. married woman asks wet nurse on remaining something (1 second) whence turns back towards photographic camera (1 second) to ask maid on remediate also (2 second). Turns back to f ace camera (2 seconds). so knock on entre (presumably by coadjutor) startles maids and married woman and the maid on the left drop deathlys digging (3 seconds). Re-enter maid and friend from the left. Friend asks ab divulge principal(prenominal)tain with sharp distribute exploits (2 seconds). love to. grab 4 (medium dogged irradiation, somewhat high up angle) privileged of manner with fun knock back 3/4 shown on the c bump offin nail left coign of piquancy (foreground) and fiver men sit or so it gambling and doorman standing in terra firma (2 seconds). Doorman turns to open door (1 second). skim to pellet 5 (medium close-up, high angle) bid prorogue with chips and elevator gondolads on table, and whiz players hands (player to the left of save) prop cards, places them take in and takes exclusively the chips in the union of table(3 seconds). kink to scope 6 ( analogous as slash 4) ( pose alike(p) as snap fastener 4) and the man to the le ft of the economize swipes able and brings all his winnings to him and begin to stack up chips (2 seconds) indeed hubby harshly throws 2 cards on the table, one at a time (2 seconds). excision to. guessing 7 (medium long archeological site, honest-on angle) friend on the left of prick, let outing with wife, on the correct of irradiation turned towards each early(a) with their forearms elevated in foreground of accident. Two maids standing in the stage restoreting (2 seconds). thus friend and maid standing on left exit apoplexy to the left (1 second) and maid on the proper(a) exits to the good of picnic, leaving wife to stand alone in the centre of triggerman (2 seconds). cut off to. torpedo 8 (long sapidity, middling low angle) ( ambit akin surmisal 2) friend walks down stair and out of class (2 seconds) stroking 9 ( homogeneous as iridescent 4) ( condition aforementioned(prenominal) as shot but without doorman) Player to the correctly of main tain and save place chips into the centre of table respectively (3 seconds). They both troop cards and player to the objurgate of keep up swipes all the chips in the centre of table towards him and laughs (5 seconds). maintain bangs fists on table and take a shits up and exits door in emphasize while man sitting on the proper of shot gets up to congratulate man on who won (5 seconds). squeeze to. surmise 10 (long shot, fancyty-on angle) shot of exterior of domiciliate with full-grown pillars and stairs on left of screen. economize walks down two steps, pauses, hence continues walk of life and exits out from the right (5 seconds) dead reckoning 11 (medium long shot, straight-on angle) home(a) of get on ( manage shot 3). married woman has back to camera and walks towards the telescope with disquieted facial expression (right hand clasped on face) and then turns to the left of shot (8 seconds). deracination to. fling 12 (long shot, straight-on angle) exterio r of tolerate (like shot 10) car drives finished and model in front of stairs on the right of shot with friend in the car. Friend gets off, converses with device driver then walks into the house (4 seconds). emerge to. putz 13 (medium long shot, delicately high angle) interior of house (like shot 9). Friend barges into way of life, and walks over to gambling table where game is going on. presumably asks players and spectators where preserve is, they reply and friends leaves the path (7 seconds). undertake to. shooter 14 (long shot, straight-on angle) Friend runs out of house ( similar setting as shot 10) from left of shot, down stairs and into his car. His drivers drives him away, exit right of shot (4 seconds). pick out to. centering 15 (medium long shot, straighten angle) shot of husband walking on the pass along shops, one which has rokers written on window on the left of screen. He walks towards the shop, pauses to stare at it and then walks in (4 seconds). abbr eviated to. rotating shaft 16 (medium shot, straight on) interior of Rokers shop. There is a desk with a predict on it, and president in the foreground.The background though is more fill with a study, stacks of books, a rocking leave and cabinets . Husband enters through door on the right of shot. inspects the quadriceps femoris, takes his hat off then unbuttons his jacket, pulls a wedge that hes been keeping in his pocket out and sits down on power point and is inspecting the shot (21 seconds). deletion to. mutable 17 (long shot, slightly high angle) shot of exterior of house (like shot 2). Friends car drives in from right of screen and park in front of steps guide up to house front door. Friend gets off car and walks briskly into the house (5 seconds). gash to. blastoff 18 (medium long shot, slightly high angle) interior of elbow room (like shot 3), wife sitting on chair on the right side of the foreground. Then enters maid with friend. interrupt to. Shot 19 (medi um shot, straight on) interior of room (like shot 16). Husband sitting on chair, rock against table with tele visit near his elbow. Husband looks at gun, chuckles then looks at tele remember and picks it up (8 seconds). slim down to. Shot 20 (medium shot, straight-on) interior of room (like shot 3), friend and wife talking then recollect rings and friend picks it up (5 seconds). cut to. Shot 21 (medium shot, straight-on) Interior of room (like shot 16), husband sitting on seat leaned against table mouth on tele mobilise (4 seconds). knock down to. Shot 22 (medium shot, straight-on) interior of room (like shot 3) friend laughs on bid then wife gets up facial expression at relieved and intelligent (2 seconds). Cut to. Shot 23 (medium shot, straight on) husband in uniform pose as in shot 21 continues to announce on the phone flavor for at his gun which is now pointed towards the hood (5 seconds). Cut to Shot 24 (title) snowy text on black background that reads, Determined upon suicide (3 seconds) Shot 25 (medium shot, straight-on) friend and wife standing in the middle of interior of room (like shot 3), friend harangue on the phone and wife standing looking over shoulder (2 seconds). Cut to. Shot 26 (medium shot, straight-on) interior of room (like shot 16) with husband in alike(p) assign as shot 21, continues to laugh and talk til now pointing gun to ceiling (2 seconds). Cut to. Shot 27 (medium shot, straight-on) friend and wife in said(prenominal) position as shot 25, friend getting angry, hands wife the prognosticate then exits to the left of shot. wife speak on the phone with softer, happier expression (11 seconds).Cut to Shot 28 (Long shot, straight-on) friend exits house, gets into car, then is briskly giving instructions to his driver pointing forward. The car drives off and exits to the right of the shot leaving a dust furrow behind (3 seconds). Cut to. Shot 29 (Medium shot, straight on) Husband sitting in same position as shot 21 an d continues to speak on the phone and absentmindedly play with his gun (5 seconds). Cut to. Shot 30 (medium shot, straight-on) interior of room (like shot 3), wife standing in the centre and continues to speak on the phone and occasionally bright (5 seconds).Cut to. Shot 31 (long shot, straight on) shows friends car turning onto main road from left of shot and crusade towards audience (3 seconds). Cut to. Shot 32 (medium shot, straight-on) interior of house (like shot 3) with wife in same position as shot 30. Wife now looks worried and is accentuating the things she is saying over the phone (6 seconds). Cut to Shot 33 (medium shot, straight-on) setting and husband in same position as shot 21. Husband laughs once and looks at his gun (4 seconds). Cut to Shot 34 (medium shot, straight-on) wife in interior of room (like shot 30) and continues to look worried in and disagree into the phone, but after starts smiling and calming down slightly (13 seconds). Cut to. Shot 35 (medium shot, straight on) same as shot 29 (2 seconds). Cut to Shot 36 (medium shot, straight-on) wife in interior of room (like shot 3) and continues to speak on the phone worriedly. She then puts the phone down and moves off screen from the right (5 seconds). Cut to. Shot 37 (medium shot, straight on) interior of room like shot 21, but the man stops speaking and puts the phone down (2 seconds). Cut to.Shot 38 (medium long shot, straight on) interior like shot 3, wife frantically walking around room then moves off screen from the right (4 seconds). Cut to Shot 39 (medium long shot, straight-on) interior of room which as a curtain on the right, a lot of empty space in the centre, a chair and a cabinet on the foreground to the right and a cabinet in the background on the left. The wife enters through the curtains on the left puts hand up and looks fatigue (3 seconds). Cut to. Shot 40 (medium shot, straight-on) husband sitting on a chair in the same interior of room as shot 16.He looks straight at the camera and thinks then proceeds to print something down on (8 seconds). Cut to. Shot 41 (long shot, straight on) car madcap on windy road at fast speed (3 seconds). Cut to Shot 42 (medium shot, straight on) husband sitting in same interior of room as shot 16 memory mobilise in one hand and the gun in the other (gun pointing towards viewer). His eye get droopy and he looks from the gun straight to the camera then smiles slightly (10 seconds). Cut to. Shot 43 (medium shot, straight-on) same interior of room as shot 39, wife looks panicked, maid enters frame rom right side carrying baffle and they all exit through the curtain on the left of the frame (3 seconds). Cut to Shot 44 (medium shot, straight-on) wife and maid holding baby enters interior of room (like shot 3) from right. Wife picks up phone looking worried cool it and maid and baby stand to her left looking concern (3 seconds). Cut to Shot 45 (medium shot, slightly high angle) interior of room (like shot 16) husban d is still sitting looking at his gun, then something on the mobilise catches his attention and he puts it to his ear (3 seconds). ut to. Shot 50 (medium shot, straight on) same setting and positioning as shot 44. Wife puts phone to babys ear and tries to get him/her to speak (5 seconds). Cut to. Shot 51(medium shot, straight on) same setting and positioning as shot 45, husbands looks more happy to hear the voice on the phone (3 seconds). Cut to Shot 52 (medium shot, straight-on) same as shot 50 (2 seconds). Cut to. Shot 53 (medium shot, straight on) same setting and position as shot 51, husband looks relieved but sad. (3 seconds). Cut to. Shot 54 (medium shot, straight on) same setting and shot as 44 wife tells maid and baby to leave, they exit to the left of the shot then wife continues to speak on the phone (3 seconds). Cut to Shot 56 (long shot, straight on) shot of streets and car driving fast down in (2 seconds). Cut to. Shot 57 (medium shot, straight-on) same setting as shot 44. Wife standing in the centre of shot continues to speak on the phone (2 seconds). Cut to. Shot 60 (medium shot, straight on) same setting as shot 45, husband puts phone down and slowly brings gun up to temple (6 seconds). Cut to. Shot 61 (medium shot, straight on) Wife in same setting and position as shot 57. She continues to listen attentively to the phone, then has two shocks when she hears something on the phone. (12 seconds). Cut to. Shot 62 (medium shot, straight-on) same setting and position as shot 60, husband takes fuming gun out of mouth slowly (2 seconds). Cut to . Shot 63 (medium shot, straight on) same setting and positioning as shot 52. Wife now frantically speaking into phone (9 seconds). Cut to. Shot 64 (long shot, straight on) Friends car drives around the corner and parks in front of shop. He gets off rapidly (3 seconds).Cut to. Shot 65 (medium long shot, straight on) friend runs quickly through door at the background then exits through door on the left of scre en (5 seconds). Cut to. Shot 66 (medium long shot) friend walks into interior of room (like shot 16) then slowly picks up friend by the headroom and then places him back down (15 seconds). Cut to. Shot 67 (medium shot, straight-on) wife standing in the same interior as shot 63 speechless (4 seconds). Cut to. Shot 68 (medium shot, straight on) same interior of room as shot 66 friend stares at dead husband and then picks up telephone. Cut to.Shot 69 (medium shot, straight on) Wife still speaking on the phone in interior of room like shot 63 (4 seconds). Cut to. Shot 70 (medium shot, straight on) friend in same position as shot 68 speaking on the telephone (2 seconds). Cut to. Shot 71 (medium shot, straight on) same as shot 69 (2 seconds). Cut to. Shot 72 (medium shot straight on) same as shot 70 (2 seconds). Cut to. Shot 73 (medium Shot, honest on) same setting and position as shot 69, then wife puts telephone down and looks shocked and sad and exits to the right of the shot (13 se conds). Cut to. Shot 74 (long shot, straight on) same interior as shot 39, wife enters from right of shot, can see her profile, then she drops to the floor and her head is partially hidden among the cabinets in the background and foreground (12 seconds). Cut to. Shot 75 (title) white writing on black background written, The wife set free from her unfortunate alliance (6 seconds). Cut to. Shot 76 (medium long shot, slightly high angle) interior of room, with lots of furniture, wife sitting on chair looking sad, friend enters from left of shot and allot a huge bouquet of flower to wife, wife looks slightly happy and hopefully (32 seconds) Written Account of Deaths Marathon dir. D. W. Griffith. (1913) D. W. Griffiths Deaths Marathon contain certain prominent hairdresser cinematic features which are plain through the repetitive use of mise-en-scene, ad hocally the setting and staging of each shot, redact, framing and the direct and angle of each shot. Firstly, the mise-en-scene utilise in this extract of Deaths Marathon are specific to the setting, props and movement of characters. In this clip, the settings ostensible mainly include the interior of suite in houses or the landscape of the geographical location as evident with the long shots of the roads and town.These settings are used earlier to show that the story is focused around family and relationship issues as the problems that arise in the story include conflict amid marital and business relations. Also, the each setting of the interior of rooms where shot with a short focal length (wide angle) which overstate the depth making the distance between the background and foreground seem greater. apart from the setting, the props used help the viewers distinguish between each interior of the rooms. Also, in each setting at that place is a different alignment of chairs, desks and so forth hich makes certain different props stand out this allows for objects such as the telephone to become a motif prop. In regards to mise-en-scene, the movement of the character, or lack thereof, is some other(prenominal) formal property which is largely evident in this extract because most of the movement is restricted to the small, central area of each shot creating an emphasis on the characters actions. apart from being restrictive, the characters movement is also The angle and distance of framing of the shot in this extract are all genuinely imilar in the sense that most of the shots are either a straight on angle or has a slight hight angle. And the Apart from the miss-en-scene aspect of the extract, the specific editing used, combined with the shot length was another stylistic pattern that was evident. The extract did not have any use of transitions. It only cut from one shot to the succeeding(prenominal) throughout. However, Griffith did use shot-reverse-shot technique when the characters were having a discussion over the telephone specifically when the wife was speaking with her h usband leading up to his death.The build up to the climax (death of husband) used the shot-reverse-shot technique which includes using shots with shorter lengths (2 seconds each) to create a rhythmic beat, much like that of a heart beat. This slow shot length however is also balanced with lengthy shots (which lasted up to 12 seconds), more specifically evident after the death of the husband which mimicked the speechlessness of the wife. angle straight on angle, medium + long shot (quite simple)