In the early days of narrative cinema there was strong pressure on filmmakers to evolve cinematic forms before nickelodeons (Salt, 31) since cinema had not become a cultural product of mass and the film was still just a novelty destined to become extinct like rock n roll. And therefore the demand was low and the offer could remain unoriginal. Mary Jane's Mishap was made in 1903 when "multi-scene films were becoming popular" (Salt, 32). Mary Jane's Mishap is notable for its use of experimental and creative shot transitions. He used a vertical wipe instead of "separating successive scenes" (Salt, 32) (since it cuts a wider frame of the same location to the width of the frame) but to change the zoom level. This frame is essentially an emblematic, borderline shot. It also acts as a caption to prevent "systematically anticipating the narrative content of the next shot and thus eliminating any possible suspense from constituting a major obstacle to the linearization of the narrative at least for the next ten years". (Burch, 221) what clearly explains to the viewer that it is Mary Jane's grave that is important as it is a "self-sufficient narrative" (Burch, 221) since cinema had exhausted the stories familiar to the audience and the primitive viewer was not film expert (cite him). This is when fades and superimpositions were most popular. 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). First of all, the insert which only shows the face but takes a closer look aids the narrative by highlighting the comedy and humor in the mustache she gave herself with shoe polish. Secondly, the "true close-up" as in this shot... center of the card... shot of Mary Jane in the first scene to unite the shots and de-emphasize the discontinuity, as well as trying to match the movement of the character to fill in the cuts. (Gunning, 90) 'The key articulation of the scene would be the cut-in (or cut-out) in which successive shots overlap spatially. This would find its beginnings in cutouts and medium shots in films such as The Mary Jane Incident, but became a dominant practice around 1912.' (Gunning, 93) According to this view, "the single shot functions as a theatrical proscenium (long shot) and as a theatrical scene" (the long, uninterrupted shot)" (Gunning, 97). Although Mary Jane's Mishap evolve from this using these cut-ins, these are still just footage shot from the same perspective/position as the original shots/where an audience member of a theater show would stand Understanding that is primitive.