Dead ManWalking
Running
Time
Outline of the Film
Section 1 Opening
Opens with main character, Sister Helen Prejean, driving, looking happy.
Interlinked with footage of her as a young girl,
‘Look in the eyes of the face of love.’
Black children playing happily, poor neighbourhood
Helen is a popular teacher, she is seen helping others.
We hear o voiceover of the prisoner and she is seen writing a letter and driving to
visit him in prison.
She is dressed in white, which is significant as it represents peace and purity.
She is stopped from going into prison by her cross. This is ironic.
She meets with the Priest who is resistant to her visit and, perhaps, aggressive.
This is interspersed with flashes of the crime. The audience is made aware of the
horror of the crime.
His first appearance (8 minutes) occurs as a knife is seen being thrust down. We are
under no illusions that he has committed an evil act.
Section 2 The First Meeting
8.00
When we first meet Matthew he seems unclear, both in sight and sound. This may be
deliberate to show that his motives or reasons for committing his crime are unclear.
‘You’ve never been this close to a murderer before.’
‘Ain’t nobody ever had money on Death Row.’
Matthew denies responsibility and tries to gain Helen’s sympathy (and the audience’s)
This is interspersed with Flashbacks to the horrific act.
Section 3 Starting the Case
13.11
Helen is stopped for speeding, returning from Prison.
She is a Nun, breaking the Law.
We see her reading Matthew’s documents, we see details of horrific crimes in newspapers and
see TV footage.
It is made clear that Helen does not attempt to find him innocent, she merely wants to save his
life.
A date has been set for his execution.
The Lawyer wants to prove he is a human being, not a monster, and save his life.
The Parents’ grief never ends.
Section 4 Helen visits Matthew’s family
19.00
It is clear they are from a very poor background - (link to black neighbourhood we see
earlier). They struggle to find money for food.
This scene is included to show that the Mother of the murderer has suffered socially and
mentally from his crime.
We see the murderer’s family as victims.
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Section 5 Helen’s family gathering
23.00
She is in a warm, comfortable, loving environment.
Complete contrast to Matthew’s background.
There is a lot of resentment towards Matthew.
Why would she help a murderer?
Section 6 Her second meeting with Matthew
24.00
This meeting is backed by the sound of Thunder and Lightning.
They discuss their family backgrounds.
She suggests that his mother should be at the Hearing.
There is a suggestion of conflict here.
‘Every person deserves respect.’
Section 7
Court Hearing
26.00
Matthew’s mother breaks down as he predicted.
An important theme is revealed here.
‘No rich people on Death Row.’
The Lawyer tries to show that he is a human being and was a normal happy child.
He explains, in horrific detail, the process of lethal injection.
The opposing arguments are heard.
Section 8
Outside the courthouse
30.00
Helen meets the victims’ families – there is conflict.
We hear their side of the story for the first time.
It is a very emotional scene as Helen realises her mistake.
As the court re-adjourns, we hear that clemency has been denied.
The Lawyer is now trying to be ‘realistic’ about the outcome.
Section 9
Shock Jocks’
33.00
Helen is back in her neighbourhood and hears ‘Shock Jocks’ arguing for Death Penalty.
It seems that public opinion is for Capital Punishment.
Section 10
She visits the Delacroix family
34.00
The boy’s parents have separated. The murder has destroyed them.
‘I wish there was some way, some key into the past to change it.’
The camera pulls back/ away. Why?
To show the ‘whole picture’ or to distance us from her at this point?
Section 11
Helen becomes his Spiritual Advisor
38.00
‘Do you ever read the Bible?’
His racism and prejudice come through here as she begins to realise the difficulty of his task.
Section 12
Protesters outside Jail
42.00
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There is a clear contrast here.
We see protesters for Death Penalty cheering and celebrating as the countdown to an
execution.
In the foreground of the shot we see protesters against Capital Punishment praying and
carrying candles.
Helen discusses arrangements for Matthew’s funeral.
Section 13
With the girl’s parents
48.00
This scene paints a picture of a normal, decent family.
They discuss her plans for the future and the search and discovery of the body.
Her Father is angry, mother distraught.
‘I could have killed him on that day.’
They assume that Helen has changed sides.’
‘Matthew Poncelet is God’s mistake.’
Section 14
Poncelet on TV
52.00
A TV interview shows Matthew to be a racist bigot.
He defends Hitler and the execution of Jews.
Helen realises the difficulty of her situation.
A strategy meeting shows publicity is against him.
‘You are making it so easy for them to kill you.’
She begins to lose the support of her black neighbours.
Section 15
Meeting of Victims of Murderers Support Group
We hear many stories mixed into each other.
Helen looks and listens.
The Delacroixs are divorcing.
Their world is falling apart.
As she drives home, she passes black prisoners working in the fields.
There are flashbacks to the rape and murder of the two young people.
We also see pictures of the children both dead and alive.
Section 16
Visits Matthew in Solitary Confinement
57.00
60.00
Matthew has been moved from Death Row as his execution approaches.
‘Never had so many people caring about what I was doing.’
They have a conversation where he tries to contrasts himself with Jesus. A Rebel?
Outside she speaks to a prison officer about Death penalty. He seems upset but it is his job.
They discuss a tree in the garden. Symbolic?
Section 17
Helen Faints
64.00
As she has a conversation about Old and New Testaments, Helen Faints
She is taken to hospital.
Afterwards, with Matthew, he talks of loneliness and isolation but is defiant.
She asks for a confession. The Truth.
In a meeting with the Governor, which was supposed to be private, he refuses to help in front
of the Media.
Section 18
at Helen’s Home
72.00
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We see her happy family, her dreams as she remembers her childhood.
‘He’s so full of hate, he just keeps pushing me away.’
Section 19
The execution approaches
74.00
Matthew is aware of the manner of his approaching death
He takes a Lie Detector test.
‘I don’t see the sense in killing people to say killing people’s wrong.’
The final family meeting.
They seem like a normal, happy, loving family.
They are not allowed to touch Matthew, even to hug him in farewell.
This scene emphasises the effect Capital Punishment has on the murderer’s family.
Section 20
His Last meal
81.00
The Lie Detector Test is inconclusive.
She confronts him with the truth.
Flashback to that night. Matthew’s anger comes out.
‘I ain’t no victim.’
The news comes through that the Federal Court has turned him down.
Section 21
A Number
86.00
He has a number tattooed on his shaved leg.
He has lost his identity and become a number.
He gives Helen his Bible.
He makes his final call to his family.
Helen sees the ‘audience’ eating sandwiches. A clear contrast.
Section 22
His confession
90.00
‘I killed him.’
He finally takes responsibility and weeps.
He can die with dignity.
We hear laughter in the background.
Helen sings a hymn to him.
Section 23
Dead Man Walking
94.00
Solemn music. Everything is clinical/ routine.
He lies like Christ on the cross.
‘I think killing is wrong, no matter who does it.’
Footage shows that he did kill the boy.
As he dies, we see the reflection of the two victims watching him in the glass window.
We see a montage of three bodies, the two murdered youngsters and Matthew.
All three are seen from above with arms outstretched like Jesus on the cross.
Could the moral message be that all killing is wrong.
Section 24
Ending
Matthew’s funeral
Delacroix turns up. He does not seem to be any happier.
Helen returns to her old life.
105.00
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She is seen praying with Delacroix.
‘DEAD MAN WALKING’ over credits.
Dead Man Walking
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The Language of the Camera Shot
The Language of the Camera Shot
Shot
1 Shot/2 Shot/ Group Shot
Framing
Establishing Master Shot
Extreme Long Shot (ELS)
Long Shot (LS)
Medium Long Shot (MLS)
Medium Shot (MS)
Medium Close Up (MCU)
Close Up Reaction (CU)
Extreme Close Up (ECU)
Low Angle Shot (LAS)
High Angle Shot (HAS)
Above Angle Shot (AAS)
Straight Angle Shot (SAS)
Canted Angle Shot (CAS)
Point of View (POV)
Over the Shoulder Shot
the basic unit of visual production and
several shots make up a scene; scenes are
joined to a form a programme unit.
determines how many people are in the
shot
determines how much of an actor’s body
is seen; depends on the distance between
the camera and the body
is used to give a general view of where
the action is to take place and is often a
location or the outside of a building.
shows entire body length of actor
shows a standing actor filling half to a
third of the screen
shows actor from knees upwards
shows actor from waist upwards
head and shoulders
head and neck, points out significant
details or reveals important psychological
moments
very detailed; often on one feature e.g.
eye, hand, lips
Camera below person and shoots up at
them. Makes them appear superior or
intimidating
Opposite; the person appears vulnerable
or insignificant
camera shoots from directly above and
the relationship between characters is
easily seen
camera shoots directly at subject and is
the normal angle used.
camera is at an angle; action looks off
balance creating a sense of unease and
adds a ‘nightmarish’ quality.
action is seen through the eyes of one of
the characters
conversation between 2 people; shoulder
of listener and front view of speaker.
Dead ManWalking
Narrative
The narrative of the film can be broken into a number of sections. Firstly, we see Helen
Prejean in the neighbourhood in which she works and how she comes into contact with
Matthew Poncelet. The film progresses as we become embroiled in the stories of, not only
Matthew, but also the families who suffer: Matthew’s and the families of the victims of his
crime. The narrative can be sub-sectioned into:







The Religious (Helen/ The Priest)
The murdered girl’s family
The murdered boy’s family
The Politicians
The Prison Workers (guards, nurse)
Matthew
Helen
It is important to realise that the narrative also reflects the movie’s stance on Capital
Punishment. Clearly, as we see Helen in her natural environment, a caring woman who helps
the poor, the stance is Anti Death Penalty but it is not so clear cut as this. There is no attempt
to protect Matthew from his crime as the use of Flashback reveals the nature of the crime to
us. Matthew never denies that he was there but it is only at the end when he confesses his role
in the crime that we see the full extent of his involvement in Flashback. The audience is never
asked to think about Matthew’s innocence but to question the State’s decision to take his life.
It is no coincidence that the neighbourhood in which Helen Prejean works is a poor one. She
is, from the beginning, seen as a caring person which, as a Nun, we would expect her to be.
But is it surprising that she is willing to help a convicted murderer? When we meet Matthew
for the first time we discover that he too is from a poor background. ‘Ain’t nobody ever had
money on Death Row.’ This presents one of the first dilemmas in the film. This is not a
question of race or colour, it is an economic factor. Her quest is to get Matthew to face up to
the truth. Their relationship throughout the film is based on this.
The narrative consists of a contrast between Old and New Testament, in the roles of the
Prison Priest and Helen. He immediately denounces the way she dresses (all in white) and
she is clearly taken aback by his aggression. This conflict, in many ways, sums up the
difficulty of her task as he, a religious man, seems resistant to any attempt to help Matthew.
While she tries to see good in everyone – in Flashback we see Matthew as a child and see the
family he comes from – the Priest sees nothing good in him. ‘Look in the eyes of the face of
love.’
The murdered girl’s family portray what would be the public face of Capital Punishment.
They are understandably angry, hurt and upset and want revenge. On the surface, we cannot
disagree with them but Matthew’s death will not bring their daughter back. They will still
have to live with the hurt. It is Helen’s major mistake that she spends so much time with
Matthew before thinking about the feelings of the victims’ families. He is angry. ‘I could have
killed him on that day.’ Neither can understand why Helen, a Nun and, as they describe their
pain and anger during the search and discovery of their daughter’s body, they cannot
understand why she would want anything to do with Matthew. ‘Matthew Poncelet is God’s
mistake.’
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However, it is perhaps more interesting to see the effect of the murder on the boy’s family.
They are also distraught and angry but the pressures of dealing with their loss have caused
tension in their marriage and they separate. The effects of Matthew’s crime reach much
further than the initial act. It causes families to collapse and the effects will last forever. We
are being invited to see the effects of this murder from many different viewpoints. While
initially it could be argued that the Narrative stance is fairly one-sided, it becomes a fairer
representation as the movie progresses.
Another aspect of the Narrative comes in the form of what could be seen as minor roles in the
Film but essential factors in the decision to execute Matthew. The politicians do not help
Matthew at any time as they are representing what may be seen as the views of the majority
of the American people. It would be political suicide to oppose the will of the people so
Matthew’s pleas fall on deaf ears. The Governor manipulates his situation to publicise his
own views as Helen’s meeting with him was intended to be private. Instead he calls a Press
Conference and turns down Matthew’s appeal publicly. There are also minor narrative roles
for the Prison Guards and Nurse who seem to be merely ‘doing their job’, but the
suggestion from their body language and facial expression is that they do not like it.
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Passage from Dead Man Walking. An Eyewitness Account of the Death Penalty in the United
States by Helen Prejean
“Death by electrocution was introduced in the United States in 1890 at Auburn prison in
upstate New York, when William Kemmler was killed by the State of New York. The New
York Times described the new method as ‘euthanasia by electricity.’ And the U.S. supreme
Court, upholding the state appellate court’s decision that death by electricity was not cruel
and unusual punishment, had concluded: ‘It is in easy reach of the electrical science at this
day to so generate and apply to the person of the convict a current of electricity of such
known and sufficient force as certainly to produce instantaneous and therefore painless
death.’
A reporter for the New World newspaper who witnessed Kemmler’s execution reported:
‘The current had been passing through his body for 15 seconds when the electrode at the head
was removed. Suddenly the breast heaved. There was a straining at the straps which bound
him. A purplish foam covered the lips and was spattered over the leather head band. The man
was alive.
‘Warden, physician, guards…everybody lost their wits. There was a startled cry for the
current to be turned on again…An odor of burning flesh and singed hair filled the room, for a
moment, a blue flame played about the base of the victim’s spine. This time the electricity
flowed four minutes…’
That was in 1890.
On October 16, 1985, the electrocution of William Vandiver by the state of Indiana took
seventeen minutes, requiring five charges of electricity.
On April 22, 1983, as the state of Alabama electrocuted John Louis Evans, the first electrical
charge burned through the electrode on the leg and the electrode fell off. The prison guards
repaired it and administered another charge of electricity. Smoke and flame erupted from
Evan’s temple and leg but the man was still alive. Following the second jolt, Evans’s lawyer
demanded that Governor George C. Wallace halt the proceedings. The governor refused.
Another jolt was administered. It took fourteen minutes for Evans to die.
On May 5, 1990, as the state of Florida killed Jesse Tafero, flames shot six inches from the
hood covering his head. The executioner interrupted the standard two-minute 2000-volt
electrical cycle and officials later determined that a sponge on Tafero’s head had caught fire.
Dead ManWalking
Structure – The Use of Flashback
While this is a movie firmly set in the present - it is, after all, a subject still debated in many
States of America to this day – the director’s use of Flashback and, in particular, Home Movie
footage is especially important. From the opening credits the audience is presented with
footage of past events and the importance of this technique cannot be underestimated. As we
have seen that the movie is really about two people coming to terms with an extremely
difficult situation, we must investigate the importance of Flashbacks in revealing essential
information.
Through FLASHBACK we first see Helen as a young girl. This emphasises her happy,
comfortable, even successful upbringing and reveals what may be a contrast with the life of a
murderer. As these images are interchanged with images of Helen now, we are asked to think
about the influence of upbringing on the adults people turn into. As we meet Matthew for the
first time, this is, perhaps, attempting to influence our opinion of him. She works in a poor,
black neighbourhood and is popular. Matthew’s introduction is interspersed with
FLASHBACKS to the horrific crime. These two REPRESENTATIONS are clearly defined as
GOOD and BAD, BLACK and WHITE.
Further on, another FLASHBACK shows Helen as a young girl with her friends. They seem
to be beating an animal with a stick, very cruelly and violently. Are we meant to see this in
comparison to Matthew’s act? Or do we see it as a contrast to the happy, loving upbringing
we witnessed earlier? Children do cruel things but it does not mean that they end up
committing evil acts in adult life. It is clear that we are not meant to see Helen’s goal as to
prove Matthew’s innocence but to save him from the Death penalty.
As the film progresses, much is revealed through FLASHBACK. As Helen realises the
difficulty of her task after Matthew’s TV Interview, she drives home and we see more of the
murder revealed through FLASHBACK. We see pictures of the victims both dead and alive.
At a point in the film where our sympathy for Matthew is at its lowest, these images are
clearly emotive and can be seen as attempts to influence our opinion. The film at no time
allows its audience to settle on one viewpoint comfortably and constantly attempts to
manipulate our emotions.
Towards the end of the movie, as Matthew’s attempts to avoid execution appear to be futile,
more is revealed about what happened that night. Matthew’s claims of being a bystander at
the scene of the murder are becoming increasingly hard to believe as in FLASHBACK we see
him participating in the crime. Matthew’s becomes increasingly angry as he realises that his
execution is inevitable. He is clearly guilty and we are finally told the truth of what happened
that night. The final use of FLASHBACK occurs as Matthew is executed. The revelation of
the full nature of his participation in the murder coincides with his execution and the scene
concludes with three dead bodies – Matthew and his two victims – seen from above, with
arms outstretched like Jesus on the Cross.
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Representation – A Film of Contrasts
There are a number of representations operating in this film. Many of them are revealed to an
extent in the opening scene.
Rich/Poor
Sister Helen enters the story as she walks through a black neighbourhood. We can see that
this is not a wealthy area but Helen is happy and popular here. She enters a building called
‘Hope House’ and we discover that she teaches adult literacy. The sepia toned
FLASHBACKS show a happy occasion, a family wedding perhaps, and we see a younger,
happy Helen as a young nun. She is obviously from a wealthy background as the occasion
seems to be very elaborate. Matthew, on the other hand, is clearly from a more deprived
background, even though his family seem equally as loving and supportive. As he himself
says early in the film, ‘Ain’t nobody ever had money on Death Row.’
TASK: Discuss the contrasts in the film, mentioned below. Think about the attitudes of the
main characters, noting down any differences you think are in evidence.
Race
Black/White
Think about the two main
characters’ attitudes to
race.
Helen did bad things
Good/Evil
Matthew
is
seen
in
Flashback as a normal,
happy, young boy
Are people born evil?
Think about the priest’s
attitude to Helen
Male/Female
What would have been the
difference if a male priest
had visited Matthew?
Is this relevant?
What if the prisoner had
been a woman?
Think about each of these issues and write down as many thoughts as possible. Add any other
thoughts of your own.
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LANGUAGE
Denotation/Connotation
Everything an audience sees and hears is made up of a series of signs that refer to or stand for
something else. These signs could be words, sounds, shapes or colours. Any system of signs
that follows rules agreed and understood by sender and receiver is a code, like the Highway
Code. In spoken or written language words often have a hidden meaning or ‘signal’ behind
the literal meaning of the word: the sun is a yellowish ball in the sky but the word also signals
warmth, happiness, brightness. Teddy Bear is a stuffed brownish plaything but it can signal
childhood, comfort, friendship. The literal (straight forward) meaning of a word refers to its
denotation but the signal meaning of a word (called connotation) is open to interpretation.
People who live within the same culture will arrive at very similar connotation. Film uses its
own language, made up of words/ signs that have meanings. Sometimes these meanings refer
to denotation, sometimes to connotation. The rules or codes according to which these signs
operate are usually divided into technical and cultural codes.
TECHNICAL CODES are associated with how the film is put together. The different types
of shot that are used, different camera movements, different uses of lighting and colour,
different uses of different background sounds or sound effects and different editing
techniques all influence the way that the reader interprets a scene. The use of a sudden burst
of loud music signal that something dramatic is to happen, an extreme close-up of a person’s
face signals that the character’s reaction is very important. A ‘whip pan’ suggests fast
movement, bright colours are livelier and more modern than muted ones and the sound of a
twig breaking signals someone is approaching.
CULTURAL CODES are concerned with what is put into the film; the props, costumes and
make-up, the tone of the dialogue and the choice of background music are important. There is
a name given to what is put into a scene; it is a direct French translation, mis en scene. Every
scene in a film has been chosen by the Director and so everything contained in the mise en
scene is there for a purpose. A location shot of a series of doors and windows, grey concrete
and a walkway in front denotes part of a block of flats but the connotation may be depressed,
dangerous and bleak or happy and friendly, depending on the other clues that are given. The
costumes that are worn tell us the time period and the sort of characters we can expect; long
dresses, shawls and bonnets indicate an historical drama but cowboy hats, guns, horses and a
sheriff’s badge suggest 1800’s America. Other clues will reinforce this: the choice of
soundtrack, the way the people speak and the objects around them.
If the same technical and cultural codes are chosen repeatedly the codes become conventions
because they are so familiar – the film itself becomes an example of a genre film. For
instance in a romance you might expect to see many close-ups of faces, soft lighting, gentle
editing (technical) and lingering glances, hand-holding, romantic music and flowers/gifts
(cultural). Objects which are always appearing in a genre film are known as icons. An icon is
an object (or picture of that object) which ‘represents’ a much larger concept – the original
icons are pictures of the Virgin Mary, the Apostles etc. which ‘represent’ Christianity, a later
icon is Marilyn Monroe, who ‘represents’ the ideal woman. Iconography has come to mean
the collection of objects that regularly appear in a genre film.
Dead ManWalking
Language
Analysis of Opening Scene
Look very closely at the opening of the film, a series of shots edited together. Your task is to
describe what you see for the two codes you have been given to look out for.
Later, give a reason why the director has chosen that way to tell the story.
Title Sequence
Codes
Consider font size,
type and colour (and
music)
Denotation
Opening credits ;
The font is clear and plain:
The colour is white against a black
background;
The soundtrack is haunting, ‘Look in
the Eyes of the Face of Love’.
Connotation
The fairly simple visuals
suggest a happy, carefree
world.
The home movie footage
suggests a happy main
character.
There may be a racial
element to the film.
Song suggests that this will
not be a happy film, though,
Things about to change?
Technical Codes
Framing
Denotation
Helen appears in the distance. There
are many young, black children
playing on the street where she walks.
Camera Angle
On the same level as her at all times.
A ground shot?
Camera Shot
Camera Movement
The camera moves very little as it
follows Helen’s approach and her
entrance to ‘Hope House’.
Connotation
As Helen appears through a
wide shot of children
playing, it is clear that she is
the central character and is
‘one of them’.
This is a wide shot, revealing
many children playing. It
stays on her as she walks
through the crowd and
follows her into the building.
As she gets closer her
importance increases.
Helen is the focal point of
this movie. We are asked to
enter her world as she walks
through the door.
The Establishing Shot
Colour
Lighting
No extra lighting. It is a bright
afternoon.
‘Look in the Eyes of the Face of
Love’ We hear the children singing
and playing.
This adds to the happiness of
the scene.
Soundtrack
The contrast here suggests
that things are about to
change. Despite the happy
scene, this will not be a
happy movie.
Editing: significant Camera is focused on the whole No cuts at all. It does not
cuts
scene. No cuts at all but it follows her move from her.
walking through/amongst the children
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Cultural Codes
Setting
Denotation
It appears to be set in the present. In a
poor black neighbourhood. We see
wooden houses along each side of the
street.
Objects in the scene,
props
Little to distract us from Helen’s
entrance
Costumes
Fairly everyday, but basic clothing
Performance of the
characters
Everyone in the scene seems happy
and relaxed.
Dialogue
Very little, but Helen greets a child in
a happy, friendly manner.
Soundtrack
The opening song plays throughout.
Connotation
This film will deal with
modern day issues.
It may deal with racial issues.
The houses suggest an area
with very few ‘frills’, a
simple background.
None to speak of.
These people do not have
money.
Helen is a happy, popular
member of a happy
community.
Confirms her position in this
small community. She is
known and popular.
‘Look in the Eyes of the Face
of Love’. Are we meant to
see Helen as an ‘angel’
figure?
The theme of the scene is to show that Helen is ‘one of them’, she is comfortable here.
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Language
Analysis of Protest Scene
As the action progresses, we see a development in the story and an increased attempt to
influence our opinion. The director deliberately uses Technical Codes to achieve these effects.
TASK: Watch the scene outside the prison at midnight very closely. Thinking about the ideas
you discussed in the opening scene, complete the table, discussing the connotations of each
Code. The ‘denotation’ column has been completed with suggested ideas.
Technical Codes
Framing
Denotation
We see a line of pro-Death Penalty
protesters. They are facing the camera
and shouting angrily.
Camera Angle
The shot is on ground level
throughout
Camera Shot
The camera pulls back, away from
Camera Movement
this group to reveal a group of antideath penalty protesters, with Helen
amongst them
Colour
It is a night time scene. The ‘Pro’
protesters are seen partly in shadow
and the ‘anti’ protesters are dressed in
white
Lighting
As above, but Helen’s group are lit by
candlelight.
Soundtrack
Gentle solemn music almost drowned
out by the angry chants and the
countdown to death of the ‘Pro’
protesters.
Editing: significant There are many quick cuts among the
cuts
protesters. We see the parents of the
victims and TV crews, as well as
Helen’s group.
Connotation
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Cultural Codes
Setting
Objects in the scene,
props
Costumes
Performance of the
characters
Dialogue
Soundtrack
Denotation
It is a night time scene outside a
prison
There are many people around,
including TV Crews.
Banners, signs, placards of protest.
We see the Pro death Penalty signs
but only the back of the ‘anti’ signs
There are TV cameras and Helen’s
group hold a candle.
Helen’s group wear white
Helen’s group remain quiet and
thoughtful in prayer.
The other group are an angry mob;
they seem to be baying for blood.
The girl’s parents are being
interviewed on TV. He is angry.
The religious man is taunting Helen’s
group
A quiet solemn piece of music almost
drowned out by angry shouts and
aggression.
Connotation
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Language
Analysis of Execution Scene
The final ‘execution’ scene has been described as one of the most powerful and emotional
scenes in modern cinema.
TASK: After watching the scene at least twice, complete the following table with your own
ideas.
Technical Codes
Framing
Denotation
Connotation
Camera Angle
Camera Shot
Camera Movement
Colour
Lighting
Soundtrack
Editing:
cuts
significant
Cultural Codes
Setting
Objects in the scene,
props
Costumes
Performance of the
characters
Dialogue
Soundtrack
Denotation
Connotation
Dead ManWalking
Essay Task One:
Choose an opening sequence from a film which is immediately effective in holding your
attention and establishing information vital to your understanding of the film.
By analysing this sequence show how it is effective in establishing important elements of
the film.
In your answer you must refer to the text and to at least TWO of: editing, use of camera,
opening graphics/ titles, special effects, soundtrack or any other appropriate feature.
For this essay you should look closely at the opening scene and decide to what extent it holds
your attention and prepares you for what is to occur in the film.

How is Helen presented to us?
Your essay might follow the following structure:
Section One:
Framing: When do we see Helen for the first time? Talk about the people in the frame with
her and the changes in framing as the scene develops. Go on to discuss the connotations of
what you are being presented with and why it might be ‘effective in holding your attention
and establishing information vital to your understanding of the film’. Follow this up with
a discussion of camera angles/ shots/ movements. What is being suggested by all of these
techniques and how do they prepare you for what is to occur in the film?
Section Two:
Opening Credits: using you notes, discuss the importance of the opening credits, colours, font
etc. What are the connotations of these in terms of the rest of the film? e.g. Why might it be
‘effective in holding your attention and establishing information vital to your
understanding of the film’. What is being suggested by all of these techniques and how do
they prepare you for what is to occur in the film?
Section Three:
Soundtrack and Home Movie Footage: Discuss the music being played. What does the title of
the song suggest about the movie we are about to see? What about the home footage clips?
What do they tell us and why do you think they have been used? What are the connotations of
these in terms of the rest of the film? e.g. Why might it be ‘effective in holding your
attention and establishing information vital to your understanding of the film’. What is
being suggested by all of these techniques and how do they prepare you for what is to occur
in the film?
Conclusion:
Sum up by saying how effective you thought the opening sequence was in ‘establishing
important elements of the film’.
Dead ManWalking
Essay Task Three:
Choose a film in which the closing sequence makes use of a variety of film techniques to
enhance its dramatic impact.
Briefly state what happens in the closing sequence and show how the techniques used
make the ending dramatic.
In your answer you must refer to the text and to at least TWO of: editing, music, use of
camera, soundtrack, or any other appropriate feature.
For this essay you should look closely at the execution scene and decide to what extent it uses
‘a variety of film techniques to enhance its dramatic impact.’
Your essay might follow the following structure:
Section One:
Summarise the events included in this scene. What has led to this and why has it been so
emotional and dramatic leading up to this point. Who are the principle characters?
Discuss the framing of this scene? Do Camera angles, shots and movement add to your
thoughts on framing? Is the lighting of this scene significant? What are the connotations of
the director’s use of these techniques? How are these techniques used to make the ending
dramatic? What is being suggested about the events in the scene by the use of camera?
Section Two:
Discuss the Cultural Codes used in this scene. What is significant about the two different
settings we see? Why do you think they are placed in juxtaposition? Is there anything
important about the objects we see, the objects use to ‘kill’ in this scene? What are the
connotations of the sounds we hear, the soundtrack? How are these techniques used to
make the ending dramatic? What is being suggested about the events in the scene by the use
of camera?
Section Three:
As Matthew’s death arrives, discuss the important cuts in the action. What is being shown and
why? Why are these shots placed in Juxtaposition? (i.e. side by side) As it is the climax to the
movie, the director is attempting to make a bigger point here? What do you think it is? What
are the connotations of the director’s use of this editing? How is this technique used to
make the ending dramatic? What is being suggested about the events in the scene by the use
of editing?
Conclusion:
Sum up by saying how effective you thought the closing sequence was in ‘creating dramatic
impact’.
Dead ManWalking
Language
Analysis of Opening Scene
Look very closely at the opening of the film, a series of shots edited together. Your task is to
describe what you see for the two codes you have been given to look out for.
Later, give a reason why the director has chosen that way to tell the story.
Title Sequence
Codes
Consider font size,
type and colour (and
music)
Denotation
Opening credits ;
The font is clear and plain:
The colour is white against a black
background;
The soundtrack is haunting, ‘Look in
the Eyes of the Face of Love’.
Connotation
The fairly simple visuals
suggest a happy, carefree
world.
The home movie footage
suggests a happy main
character.
There may be a racial
element to the film.
Song suggests that this will
not be a happy film, though,
Things about to change?
Denotation
Connotation
The Establishing Shot
Technical Codes
Framing
Camera Angle
Camera Shot
Camera Movement
Colour
Dead ManWalking
Lighting
Soundtrack
Editing:
cuts
significant
Cultural Codes
Setting
Denotation
Connotation
Objects in the scene,
props
Costumes
Performance of the
characters
Dialogue
Soundtrack
The theme of the scene is to show that Helen is ‘one of them’, she is comfortable here.
Dead ManWalking