In the development of the narrative close ups are used. Mary Jane's Mishap uses both types of these close shots that Salt defines (Salt, 38). Firstly the insert which only show the face but closer it furthers the narrative by highlighting the comedy and humour in the moustache she has given herself with shoe polish. Secondly, the ‘true close-up’ such as in this shot...
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...shot of Mary Jane in the first scene to join the shots and de-emphasize discontinuity as well as trying to match the character movement to bridge the cuts. (Gunning, 90) ‘The key articulation in the scene would be the cut-in (or the cut out) in which successive shots overlap spatially. This would find its beginnings in the cut-ins to medium shots in such films as Mary Jane's Mishap but becomes dominant practice around 1912.’ (Gunning, 93) According to this view, ‘the single-shot functions as a theatrical proscenium (long shot framing) and the theatrical scene’ (the lengthy uninterrupted shot)’ (Gunning, 97). Though Mary Jane's Mishap evolves from this by using these cut-ins though these are still only cut-ins filmed from the same perspective/position of the original shots/ where a audience member of a theatre show would stay. Understanding of it being primitive.
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