D W Griffith Dramatic Construction

D. W. Griffith is the acknowledged father of film editing in its modern sense. His influence on the Hollywood mainstream film and on the Russian revolutionary film was immediate. His contributions cover the full range of dramatic construction: the variation of shots for impact, including the extreme long shot, the close-up, the cutaway, and the tracking shot; parallel editing; and variations in pace. All of these are ascribed to Griffith. Porter might have clarified film narrative in his work, but Griffith learned how to make the juxtaposition of shots have a far greater dramatic impact than his predecessor.

Beginning in 1908, Griffith directed hundreds of one- and two-reelers (10- to 20-minute films). For a man who was an unemployed playwright and performer, Griffith was slow to admit more than a temporary association with the new medium. Once he saw its potential, however, he shed his embarrassment, began to use his own name (initially, he directed as "Lawrence Griffith"), and zealously engaged in film production with a sense of experimentation that was more a reflection of his self-confidence than of the potential he saw in the medium. In the melodramatic plot (the rescue of children or women from evil perpetrators), Griffith found a narrative with strong visual potential on which to experiment. Although at best naive in his choice of subject matter,5 Griffith was a man of his time, a nineteenth-century Southern gentleman with romanticized attitudes about societies and their peoples. To appreciate Griffith's contribution to film, one must set aside content considerations and look to those visual innovations that have made his contribution a lasting one.

Beginning with his attempt to move the camera closer to the action in 1908, Griffith continually experimented with the fragmentation of scenes. In The Greaser's Gauntlet (1908), he cut from a long shot of a hanging tree (a woman has just saved a man from being lynched) to a full body shot of the man thanking the woman. Through the match-cutting of the two shots, the audience enters the scene at an instant of heightened emotion. Not only do we feel what he must feel, but the whole tenor of the scene is more dynamic because of the cut, and the audience is closer to the action taking place on the screen.

Griffith continued his experiments to enhance his audience's emotional involvement with his films. In Enoch Arden (1908), Griffith moved the camera even closer to the action. A wife awaits the return of her husband. The film cuts to a close-up of her face as she broods about his return. The apocryphal stories about Biograph executives panicking that audiences would interpret the close-up as decapitation have displaced the historical importance of this shot. Griffith demonstrated that a scene could be fragmented into long shots, medium shots, and close shots to allow the audience to move gradually into the emotional heart of the scene. This dramatic orchestration has become the standard editing procedure for scenes. In 1908, the effect was shocking and effective. As with all of Griffith's innovations, the close-up was immediately adopted for use by other filmmakers, thus indicating its acceptance by other creators and by audiences.

In the same film, Griffith cut away from a shot of the wife to a shot of her husband far away. Her thoughts then become visually manifest, and Griffith proceeds to a series of intercut shots of wife and husband. The cutaway introduces a new dramatic element into the scene: the husband. This early example of parallel action also suggests Griffith's experimentation with the ordering of shots for dramatic purposes.

In 1909, Griffith carried this idea of parallel action further in The Lonely Villa, a rescue story. Griffith intercuts between a helpless family and the burglars who have invaded their home and the husband who is hurrying home to rescue his family. In this film, Griffith constructed the scenes using shorter and shorter shots to heighten the dramatic impact. The resulting suspense is powerful, and the rescue is cathartic in a dramatically effective way. Intercutting in this way also solved the problem of time. Complete actions needn't be shown to achieve realism. Because of the intercutting, scenes could be fragmented, and only those parts of scenes that were most effective needed to be shown. Dramatic time thus began to replace real time as a criteria for editing decisions.

Other innovations followed. In Ramona (1911), Griffith used an extreme long shot to highlight the epic quality of the land and to show how it provided a heightened dimension to the struggle of the movie's inhabitants. In The Lonedale Operator (1911), he mounted the camera on a moving train. The consequent excitement of these images intercut with images of the captive awaiting rescue by the railroad men again raised the dramatic intensity of the sequence. Finally, Griffith began to experiment with film length. Although famous for his one-reelers, he was increasingly looking for more elaborate narratives. Beginning in late 1911, he began to experiment with two-reelers (20 to 32 minutes), remaking Enoch Arden in that format. After producing three two-reelers in 1912—and spurred on by foreign epics such as the 53-minute La Reine Elizabeth (Queen Elizabeth) (1912) from France and Quo Vadis (1913) from Italy—Griffith set out to produce his long film Judith of Bethulia (1913). With its complex Biblical story and its mix of epic baffles and personal drama, Griffith achieved a level of editing sophistication never before seen on screen.

Griffith's greatest contributions followed. The Birth of a Nation (1915) and Intolerance (1916) are both epic productions; each screen story lasts more than two hours. Not only was Griffith moving rapidly beyond his two-reelers, he was now making films more than twice the length of Judith of Bethulia. The achievements of these two films are well documented, but it is worth reiterating some of the qualities that make the films memorable in the history of editing.

Not only was The Birth of a Nation an epic story of the Civil War, but it also attempted in two and one-half hours to tell in melodramatic form the stories of two families: one from the South, and the other from the North. Their fate is the fate of the nation. Historical events such as the assassination of Lincoln are intertwined with the personal stories, culminating in the infamous ride of the Klan to rescue the young Southern woman from the freed slaves. Originally conceived of as a 12-reel film with 1544 separate shots, The Birth of a Nation was a monumental undertaking. In terms of both narrative and emotional quality, the film is astonishing in its complexity and range. Only its racism dates the film.

The Birth of a Nation displays all of the editing devices Griffith had developed in his short films. Much has been written about his set sequences, particularly about the assassination of Lincoln6 and the ride of the Klan. Also notable are the battle scenes and the personal scenes. The Cameron and Stoneman family scenes early in the film are warm and personal in contrast to the formal epic quality of the battle scenes. These disparate elements relate to one another in a narrative sense as a result of Griffith's editing. In the personal scenes, for example, the film cuts away to two cats fighting. One is dark, and the other is light gray. Their fight foreshadows the larger battles that loom between the Yankees (the Blues) and the Confederates (the Grays). The shot is simple, but it is this type of detail that relates one sequence to another.

In Intolerance, Griffith posed for himself an even greater narrative challenge. In the film, four stories of intolerance are interwoven to present a historical perspective. Belshazzar's Babylon, Christ's Jerusalem, Huguenot France, and modern America are the settings for the four tales. Transition between the time periods is provided by a woman, Lillian Gish, who rocks a cradle. The transition implies the passage of time and its constancy. The cradle implies birth and the growth of a person. Cutting back to the cradle reminds us that all four stories are part of the generational history of our species. Time and character transactions abound. Each story has its own dramatic structure leading to the moment of crisis when human behavior will be tested, challenged, and questioned. All of Griffith's tools—the close-ups, the extreme long shots, the moving camera—are used together with pacing. The film is remarkably ambitious and, for the most part, effective.

More complex, more conceptual, and more speculative than his former work, Intolerance was not as successful with audiences. However, it provides a mature insight into the strengths and limitations of editing. The effectiveness of all four stories is undermined in the juxtaposition. The Babylonian story and the modern American story are more fully developed than the others and seem to overwhelm them, particularly the St. Bartholomew's Day Massacre in Huguenot France. At times the audience is confused by so many stories and so many characters serving a metaphorical theme. The film, nevertheless, remains Griffith's greatest achievement in the eyes of many film historians. Because The Birth of a Nation and Intolerance are so often the subject of analysis in film literature, rather than refer to the excellent work of others, the balance of this section focuses on another of Griffith's works, Broken Blossoms (1919).

Broken Blossoms is a simple love story set in London. A gentle Chinese man falls in love with a young Caucasian woman. The woman, portrayed by Lillian Gish, is victimized by her brutal father (Donald Crisp), who is aptly named Battler. When he learns that his daughter is seeing an Oriental (Richard Barthelness), his anger explodes, and he kills her. The suitor shoots Battler and then commits suicide. This tragedy of idealized love and familial brutality captures Griffith's bittersweet view of modern life. There is no place for gentleness and purity of spirit, mind, and body in an aggressive, cruel world.

The two cultures—China and Great Britain—meet on the London waterfront and in the opium dens (Figures 1.1 and 1.2). On the waterfront the suitor has set up his shop, and here he brings the young woman (Figures 1.3 and 1.4). Meanwhile, Battler fights in the ring (Figure 1.5). Griffith intercuts the idyllic scene of the suitor attending to the young woman (Figure 1.6) with Battler beating his opponent. The parallel action juxtaposes Griffith's view of two cultures: gentleness and brutality. When Battler finishes off his opponent, he rushes to the suitor's shop. He is led there by a spy who has informed him about the whereabouts of the young woman. Battler destroys the bedroom, dragging the daughter away. The suitor is not present.

At home, Battler menaces his daughter, who hides in a closet. Battler takes an ax to the door. Here, Griffith intercut between three locations: the closet (where the fearful, trapped young woman is hiding), the living room (where the belligerent Battler is attacking his daughter), and the suitor's bedroom (where he has found the room destroyed). The suitor grabs a gun and leaves to try to rescue the young woman. Finally, Battler breaks through the door. The woman's fear is unbearable. Griffith cuts to two subjective close-ups: one of the young woman, and one of Battler (Figures 1.7 and 1.8). Battler pulls his daughter through the shattered door (Figure 1.9). The scene is terrifying in its intensity and in its inevitability. Battler beats his daughter to death. When the suitor arrives, he finds the young woman dead and confronts Battler (Figure 1.10), killing him. The story now rapidly reaches

Figure 1.2 Broken Blossoms, 1919. Still provided by Moving Image and Sound Archives.
Figure 1.5 Broken Blossoms, 1919. Still provided by British Film Institute.
Figure 1.6 Broken Blossoms, 1919. Still provided by Moving Image and Sound Archives.
Figure 1.10 Broken Blossoms, 1919. Still provided by British Film Institute.

its denouement: the suicide of the suitor. He drapes the body of the young woman in silk and then peacefully accepts death.

Horror and beauty in Broken Blossoms are transmitted carefully to articulate every emotion. All of Griffith's editing skills came into play. He used close-ups, cutaways, and subjective camera placement to articulate specific emotions and to move us through a personal story with a depth of feeling rare in film. This was Griffith's gift, and through his work, editing and dramatic film construction became one.

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  • Sarama
    Where can I get griffith greaser's gauntlet?
    8 years ago
  • GIRMAY
    What is griffith dramatic emphasis?
    2 years ago
  • habte nebay
    What contributions did D.W. Griffith make to editing as well as production?
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  • LIVIA ZETTICCI
    How did D.W. Griffith create dramatic intensity?
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  • portia
    Who is known as the father of edting?
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  • Giusy
    How did w.d. griffith create a wide screen effect?
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