D.W.Griffith Essay -- Biography Biographies Bio

Perhaps no other director has generated much(prenominal) a broad range of critical reaction as D.W. Griffith. For students of the motion picture, Griffiths is the well-nigh familiar name in film history. Generally acknowledged as Americas most influential director (and certainly one of the most prolific), he is also perceived as being among the most limited. Praise for his mastery of film technique is matched by repeated indictments of his moral, artistic, and intellectual inadequacies. At one extreme, Kevin Brownlow has characterized him as the only director in America creative enough to be called a genius. At the other, Paul Rotha calls his contribution to the advance of film negligible and Susan Sontag complains of his supreme vulgarity and even inanity his work reeks of a fervid moralizing about sexual activity and violence and his energy comes from suppressed voluptuousness.Griffith started his directing career in 1908, and in the following five years made some 485 films, al most all of which get down been preserved. These films, one or two reels in length, have customarily been regarded as apprentice works, films in which, to quote Stephen Zito, Griffith borrowed, invented, and perfected the forms and techniques that he slowlyr used to such memorable effect in The Birth of a Nation, Intolerance, Broken Blossoms, and Way Down East. These early Biographs (named after the studio at which Griffith worked) have usually been examine for their stylistic features, nonably parallel editing, camera placement, and treatment of light and shadow. Their most famous structuring devices are the last-minute rescue and the cross-cut.In recent years, however, the Biographs have pretended higher status in film history. Many historians and critics rank the... ...oes Griffith create the impression of narrative immobility?By and large, Griffiths films of the mid- and late 1920s have not fared well critically, although they have their defenders. The customary viewthat G riffiths work became dull and undistinguished when he lost his personal studio at Mamaroneck in 1924continues to prevail, despite calls from nates Dorr, Arthur Lennig, and Richard Roud for re-evaluation. The eight films he made as a contract director for Paramount and United Artists are usually studied (if at all) as examples of late 1920s studio style. What critics find startling about themparticularly the United Artists featuresis not the lack of quality, but the absence of any identifiable Griffith traits. Only Abraham capital of Nebraska and The Struggle (Griffiths two sound films) are recognizable as his work, and they are usually treated as early 1930s oddities.