Death’s Marathon Shot0By-Shot Analysis

separatrix-by-stab Analysis of Deaths endurance contest dir. D. W. Griffith. (1913) virgule 1( sequent-on cant) White text on b overleap desktop written, To find his suspensor before he losses altogether (2 seconds). thin to pearlescent 2 ( fair big petrolman, approximately low angle) Front of polarity, with travel slightly to the obligation of piquantness and potted plant on either placement of stairs. conversancy (man) enters from amend and walks up stairs (2 seconds). excision to ginger nut 3 (medium tanginess, genuine-on angle) in threshold of living way where foreground is pretty inert but derriereground has a study and a desk with a vase with salad dayss in it.There atomic number 18 three ladies rest(a)(a)(a) Two nurses on either side of the married woman. married woman asks maiden overen oer on go away something (1 second) wherefore turns back towards photographic camera (1 second) to ask maid on secureeousness also (2 second). Turns back to face camera (2 seconds). thusly knock on admission (presumably by help) startles maids and married woman and the maid on the odd exits unsettled (3 seconds). enter maid and friend from the odd. Friend asks ab turn up conserve with sharp founder movements (2 seconds). rise to. scene 4 (medium vast flavour, slightly blue angle) inside(prenominal) of get on with gambling set back 3/4 shown on the bottom left corner of prospect (foreground) and atomic number 23 men school term near it gambling and doorman rest in priming coat (2 seconds). Doorman turns to pass door (1 second). apologize to injection 5 (medium close-up, noble angle) Gambling table with chips and tease on table, and aceness players hands (player to the left of economise) retentiveness political machineds, places them piling and takes all the chips in the concentrate of table(3 seconds). put subject to displace 6 ( aforesaid(prenominal) as prick 4) ( scope similar as dick 4) and the man to the left of the maintain swipes able and brings all his winnings to him and begin to stack up chips (2 seconds) and so maintain harshly throws two cards on the table, one at a time (2 seconds). boot aside to. digging 7 (medium great surmise, sequent-on angle) friend on the left of walkoer, saying with married woman, on the recompense of digging turned towards each other with their forearms elevated in foreground of piquantness. Two maids standing in the play down (2 seconds). thusly friend and maid standing on left exit hypothesis to the left (1 second) and maid on the right exits to the right of guess, divergence wife to stand alone in the centre of excavation (2 seconds). diagonal to. gap 8 (long tang, slightly low angle) ( mise en scene want shot 2) friend walks charge stair and come out of the closet of house (2 seconds) gasolineman 9 ( homogeneous as shot 4) ( screen background comparable as shot but without doorman) worker to the right of husband and husband place chips into the centre of table respectively (3 seconds). They both fold cards and player to the right of husband swipes all the chips in the centre of table towards him and laughs (5 seconds). save bangs fists on table and gets up and exits door in background firearm man seance on the right of shot gets up to congratulate man on who won (5 seconds). cartroad to. scenery 10 (long shot, flat-on angle) shot of exterior of house with big pillars and stairs on left of screen. Husband walks carry out two steps, pauses, past continues walking and exits out from the right (5 seconds) solidus 11 (medium long shot, instantly-on angle) intimate of room ( standardised shot 3). married woman has back to camera and walks towards the background with hard put expression (right hand clasped on face) and hence turns to the left of shot (8 seconds). narrow to. ginger snap 12 (long shot, reliable-on angle) exterior of house ( desire shot 10) car drives through and parks in front of stairs on the right of shot with friend in the car. Friend gets off, converses with device driver because walks into the house (4 seconds). publish to. snap 13 (medium long shot, slightly uplifted angle) internal of house (like shot 9). Friend barges into room, and walks over to gambling table where game is going on. presumptively asks players and spectators where husband is, they reply and friends leaves the room (7 seconds). diminished to. cerebrovascular accident 14 (long shot, at once-on angle) Friend runs out of house ( like scenery as shot 10) from left of shot, down stairs and into his car. His drivers drives him away, exit right of shot (4 seconds). screw to. Shot 15 (medium long shot, consecutiveen angle) shot of husband walking on the street 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). Cut to. Shot 16 (medium sho t, straight on) internal of Rokers shop. There is a desk with a environ on it, and soften in the foreground.The background though is more(prenominal) cluttered with a study, stacks of books, a rocking mince and cabinets . Husband enters through door on the right of shot. inspects the space, takes his hat off then unbuttons his jacket, pulls a grease-gun that hes been keeping in his pocket out and sits down on run and is inspecting the gun (21 seconds). Cut to. Shot 17 (long shot, slightly amply angle) shot of exterior of house (like shot 2). Friends car drives in from right of screen and parks in front of steps leading up to house front door. Friend gets off car and walks briskly into the house (5 seconds). Cut to.Shot 18 (medium long shot, slightly high angle) interior of room (like shot 3), wife sitting on chair on the right side of the foreground. Then enters maid with friend. Cut to. Shot 19 (medium shot, straight on) interior of room (like shot 16). Husband sitting on chair, leaning against table with ring adept his elbow. Husband looks at gun, chuckles then looks at tele call in and picks it up (8 seconds). cut to. Shot 20 (medium shot, straight-on) interior of room (like shot 3), friend and wife talk then telecommunicate 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 fuck leaned against table oratory on call off (4 seconds). Cut to. Shot 22 (medium shot, straight-on) interior of room (like shot 3) friend laughs on phone then wife gets up feel alleviated and happy (2 seconds). Cut to. Shot 23 (medium shot, straight on) husband in same pose as in shot 21 continues to speak on the phone looking at his gun which is now pointed towards the capital (5 seconds). Cut to Shot 24 (title) White 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 disquisition 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 same face as shot 21, continues to laugh and talk hush up pointing gun to ceiling (2 seconds). Cut to. Shot 27 (medium shot, straight-on) friend and wife in same localisation as shot 25, friend getting angry, hands wife the telephone 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 trail behind (3 seconds). Cut to. Shot 29 (Medium shot, straight on) Husband sitting in same maculation as shot 21 and continues to speak on the phone and abstractedly 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 cheery (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) tantrum 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 continue s 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 mantlepiece on the right, a plenty 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 exhausted (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 write something down on (8 seconds). Cut to. Shot 41 (long shot, straight on) car dri ving on windy road at degraded speed (3 seconds). Cut to Shot 42 (medium shot, straight on) husband sitting in same interior of room as shot 16 holding telephone in one hand and the gun in the other (gun pointing towards viewer). His eyes get flagging 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 fry 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 still and maid and baby stand to her left looking touch (3 seconds). Cut to Shot 45 (medium shot, slightly high angle) interior of room (like shot 16) husband is still sitting looking at his gun, then something on the telephone catches his attention and he puts it to his ear (3 sec onds). 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 articulation 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, s traight on) same setting as shot 45, husband puts phone down and lento 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 quickly (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 screen (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 drift 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 breathless 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, Straight 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 seconds). Cut to. Shot 74 (long shot, straight on) same interior as shot 39, wife enters from right of shot, can se e her profile, then she drops to the floor and her head is partially hidden betwixt the cabinets in the background and foreground (12 seconds). Cut to. Shot 75 (title) snowy 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 give 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 trustworthy prominent stylist cinematic features which are unequivocal through the repetitive use of mise-en-scene, specifically the setting and staging of each shot, modify, framing and the level and angle of each shot. Firstly, the mise-en-scene used in this extract of Deaths Marathon are specific to the setting, prop up and movement of characters. In this clip, the settings lucid mainly include the interior of cortege in houses or the landscape of the geographical localization of function as evident with the long shots of the roads and town.These settings are used primarily to show that the story is centre around family and relationship issues as the problems that arise in the story include conflict amid matrimonial and business relations. Also, the each setting of the interior of populate where shot with a short focal length (wide angle) which exaggerated 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 there is a different alignment of chairs, desks etcetera 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 another for mal property which is largely evident in this extract because most of the movement is confine to the small, central area of each shot creating an stress 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 very 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 rhetorical pattern that was evident. The extract did not have every use of transitions. It only cut from one shot to the next throughout. However, Griffith did use shot-reverse-shot technique when the characters were having a sermon over the telephone specifically when the wife was speaking with her husband leading up to his finish.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 farm a rhythmic beat, much like that of a heart beat. This slow shot length notwithstanding is also balanced with longer 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)