Answer to Question 1
The director juxtaposes close-ups with long shots, vertical designs with
horizontals, darks with lights, downward motions with upward, traveling shots with
stationary setups, lengthy shots with brief cutaways, and so on. The sequence is so
famous it has been parodied many times throughout the later half of the 20th century,
including a special homage by Brian De Palma in The Untouchables.
Answer to Question 2
The aesthetic qualities of deep-focus photography permitted composition
in depth: Whole scenes could be shot in one setup, with no sacrifice of detail, for
every distance appeared with equal clarity on the screen. Deep focus tends to be most effective when it adheres to the real timespace continuum. For this reason, the
technique is sometimes thought to be more theatrical than cinematic, for the effects
are achieved primarily through a spatially unified mise en scne rather than a
fragmented juxtaposition of shots.
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