The Killing Essay, Research Paper
The Killing by Stanley Kurbrick ( 1956 ) is a offense thriller with a turn. An ex-con by the name of Johnny Clay has planned the perfect robbery. He uses inside work forces and assorted good timed distractions so he can clean out the local racecourse? s money office, merely to win and lose it all at the terminal.
The scene of changeable one is an outside racecourse. In this broad shooting ( w/s ) frame. The topic? s are placed screen centre. The Equus caballuss and Jock? s are at the get downing gate. The bell rings, and the Gatess open. The Equus caballuss begin to do their manner around the path. As they move the camera follows panning from the right to the left, doing the broad shooting ( tungsten ) into a long shooting ( cubic decimeter ) . In the dorsum land the heartening people in the bases of the race path rise to their pess in exhilaration, as the announcer studies on the race ( diegetic sound ) .
The first shooting is brilliantly lit by the daytime. There is some blaze from the Sun as the camera pans from right to go forth. The first cut occurs during the pan as the Equus caballuss make their manner around the path.
The 2nd shooting is located inside the racecourse. The shooting begins as a broad shooting as Marvin Unger enters the highly big room. The camera continues to hit, dolling from left to compensate as Marvin walks through the room ( in-between land ) doing the broad shooting to a medium shooting.
Marvin passes the teller? s booth, people in the background, every bit good as people in the foreground. A witness can see soft cast-shadows along the back walls every bit good as on Marvin? s face, as he walks in and out of visible radiation and dark countries of the room. Sunlight seems to be coming from the big Windowss of the race path causation shadows.
A storyteller ( non-diegetic ) reveals to the audience that Marvin has no existent involvement in the race taking topographic point at that clip. So one would inquire why he was at that place. As he walks he seems to be believing about something oth
Er than the race. The cut occurs between changeable two and three, as Marvin approaches the saloon, cutting to the barman.
Same location and soft lighting ( no shadows ) . In this medium shooting Marvin enters the frame camera left. Marvin steps up to the saloon and orders a general sodium carbonate from the barman. Michael ( Mike ) O? Reilly, who is camera right..
There is a twosome ( adult male and adult females ) screen centre in the background at the terminal of the saloon. Marvin throws a folded piece of paper on the saloon and covers it with his cubitus. He so throws a coin down for payment. The barman makes and hands him the sodium carbonate. As he wipes the saloon he tells Marvin? $ 5 dollar win following to the $ 5 dollar topographic point? ( diegetic sound ) . After stating this the cut between shot three and four occurs as Marvin lifts his cubitus from the paper.
This shooting is a really short return. It? s a close-up of the folded paper on the saloon. On the paper is an reference and clip. It reads? 504 West Olive, Apartment 4B, 8 p.m. ? Same lighting as old shooting. The camera is tilted down with paper screen centre. The tilt suggest that the barman is looking down at it as he takes it. The close-up of the paper draws your attending to it because it is an of import portion to the secret plan of the movie. The cut between shootings four and five occurs as the paper is being slid by the barman which can be heard ( diegetic sound ) .
The location of shooting five and the lighting and camera arrangement are the same as in shooting three. This shooting is a lucifer on action shooting of the barman skiding the paper across the saloon. Marvin sips the sodium carbonate one time before seting the glass down and interchanging a few words to the barman unrelated to the paper or the information on it. Marvin walks off from the saloon as the camera follows dolling from right to go forth. Marvin and camera halt. As Marvin close his eyes and listens? the announcer study? s the consequences of the race ( diegetic sound ) . At