Death’s Marathon Shot0By-Shot Analysis

injection-by- shooting Analysis of Deaths Marathon dir. D. W. Griffith. (1913) surmise 1( flat-on angle) White text on black background written, To find his virtuoso before he losses every (2 seconds). lead to calamus 2 (medium long blast out, roughly low gear angle) Front of brook, with steps slightly to the oercompensate of sweep and potted seed on either spot of steps. booster amplifier (man) enters from right and walks up stairs (2 seconds). do to surmise 3 (medium dick, unbowed-on angle) Interior of living board where highlight is pretty va potfult yet background has a study and a desk with a vase with flowers in it.There are three ladies standing(a)(a) Two nurses on either side of the wife. wife asks wetnurse on remaining something (1 second) indeed turns back towards camera (1 second) to ask maid on right in addition (2 second). Turns back to face camera (2 seconds). Then knock on portal (presumably by promoter) startles maids and wife and the m aid on the leftoverfield slip aways grab (3 seconds). get into maid and chum from the left. Friend asks about hubby with sharp surpass endeavours (2 seconds). under justify to. zest 4 (medium long hired gaseous state, slightly high angle) inner of inhabit with gambling submit 3/4 shown on the tail left coign of light beam ( bring out) and five men sitting nearly it gambling and accessionman standing in background (2 seconds). Doorman turns to rotate brink (1 second). strike down to quip 5 (medium close-up, high angle) Gambling duck with chips and cards on table, and one players hands (player to the left of keep up) holding cards, places them great deal and takes all the chips in the affection of table(3 seconds). strike down to chatoyant 6 ( selfsame(prenominal)(p) as sweep 4) ( scope same as quip 4) and the man to the left of the keep up swipes able and brings all his winnings to him and begin to stack up chips (2 seconds) and wherefore maintai n harshly throws two cards on the table, one at a time (2 seconds). Cut to. opalescent 7 (medium long scenery, groovy-on angle) recall dose on the left of throw, verbalise with wife, on the right of smack sour towards individually other with their forearms elevated in foreground of tool. Two maids standing in the background (2 seconds). Then friend and maid standing on left exit accident to the left (1 second) and maid on the right exits to the right of fracture, leaving wife to stand alone in the centre of shot (2 seconds).Cut to. pecker 8 (long shot, slightly low angle) ( context like shot 2) friend walks checkmate stair and out of house (2 seconds) digging 9 (same as shot 4) (setting same as shot but without doorman) doer to the right of conserve and husband place chips into the centre of table singly (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). married man bangs fists on table and gets up and exits door in background while man sitting on the right of shot gets up to congratulate man on who win (5 seconds).Cut to. Shot 10 (long shot, straight-on angle) shot of exterior of house with big pillars and stairs on left of pervade. Husband walks down two steps, pauses, thus continues walking and exits out from the right (5 seconds) Shot 11 (medium long shot, straight-on angle) intragroup of path (like shot 3). wife has back to camera and walks towards the background with worried style (right hand clasped on face) and then turns to the left of shot (8 seconds). Cut to. Shot 12 (long shot, straight-on angle) exterior of house (like shot 10) car drives through and put 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). Cut to. Shot 13 (medium long shot, slightly high angle) privileged of house (like shot 9). Friend barges into live, and walks over to gambling table where game is going on. presumably asks players and spectators where husband is, they reply and friends leaves the room (7 seconds). Cut to. Shot 14 (long shot, straight-on angle) Friend runs out of house (same 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). Cut to. Shot 15 (medium long shot, straighten angle) shot of husband walking on the high highroad 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 shot, straight on) internal of Rokers shop. There is a desk with a holler on it, and hot seat in the foreground.The background though is more clutter with a study, stacks of books, a rocking head and storage lockers . Husband enters through door on the right of shot. inspects the space, takes his hat off then unbuttons his jacket, pulls a c rampfish that hes been keeping in his pocket out and sits down on check and is inspecting the bomber (21 seconds). Cut to. Shot 17 (long shot, slightly high angle) shot of exterior of house (like shot 2). Friends car drives in from right of screen and parks in front of steps leadership 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) upcountry 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) midland of room (like shot 16). Husband sitting on chair, leaning against table with speech sound near his elbow. Husband looks at gun, chuckles then looks at tele shout and picks it up (8 seconds). cut to. Shot 20 (medium shot, straight-on) home(a) of room (like shot 3), friend and wife talking then phone 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 speaking on telephone (4 seconds). Cut to. Shot 22 (medium shot, straight-on) privileged of room (like shot 3) friend laughs on phone then wife gets up expression relieved and talented (2 seconds). Cut to. Shot 23 (medium shot, straight on) husband in same pose as in shot 21 continues to speak on the phone flavour at his gun which is right away pointed towards the ceiling (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 speaking 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 localisation as shot 21, continues to laugh and talk in time pointing gun to ceiling (2 seconds). Cut to. Shot 27 (medium shot, straigh t-on) friend and wife in same government agency 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 vex as shot 21 and 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 pull a face (5 seconds).Cut to. Shot 31 (long shot, straight on) shows friends car turning onto main road from left of shot and driving towards audience (3 seconds). Cut to. Shot 32 (medium shot, straight-on) interior of ho use (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 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 driving 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 holding telephone in one hand and the gun in the other (gun pointing towards viewer). His eyes 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 botch 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 concerned (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 seconds). ut to. Shot 50 (medium shot, straight on) same setting and office 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 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 head 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, stra ight 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 blow out of the water 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 see her profile, then she drops to the floor and her head is partially hidden amid the cabinets in the background and foreground (12 seconds). Cut to. Shot 75 (title) color writing on black background written, The wife set exhaust 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 broad bouquet of flower to wife, wife looks slightly happy and hopefully (32 seconds) pen Account of Deaths Marathon dir. D. W. Griffith. (1913) D. W. Griffiths Deaths Marathon contain certain prominent hairdresser cinematic features which are seeming(a) through the repetitive use of mise-en-scene, unique(predicate)ally the setting and staging of each shot, editing, inclose 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, sustain and movement of characters. In this clip, the settings evident mainly include the interior of dwell in houses or the landscape of the geographical location as evident with the long shots of the roads and town.These settings are used primarily to show that the invoice is focused around family and relationship issues as the problems that arise in the boloney i nclude conflict between marital and business relations. Also, the each setting of the interior of rooms where shot with a short focal distance (wide angle) which exaggerated the depth making the distance between the background and foreground seem greater. Apart from the setting, the sustain used help the viewers give away between each interior of the rooms. Also, in each setting on that point is a different alignment of chairs, desks etc. 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 dinner dress 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 very imilar in the s ense 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 contour that was evident. The extract did not have any 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 word of honor over the telephone specifically when the wife was speaking with her husband leading up to his death.The build up to the climax (death of husband) used the shot-reverse-shot technique which includes utilise shots with shorter lengths (2 seconds each) to create a rhythmic beat, much like that of a oculus 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 angl e, medium + long shot (quite simple)