1,655 research outputs found
D.W. Griffith : American filmmaker
No full textA documentary on the life and work of American film-maker D.W. Griffith, who pioneered the use of such film techniques as close ups, cuts, cross-cuts, fade-ins, fade-outs, and moving the camera. Includes clips from: The birth of a nation, Intolerance, Orphans of the storm, Way down East, and other Griffith films.Narrator, Bill Bixb
Douglas Fairbanks, Mary Pickford, Charles Chaplin, and D.W. Griffith, 1919
No full textFrom left: Douglas Fairbanks, Mary Pickford, Charles Chaplin, and D.W. Griffith, 1919. 8x10 b&w photographic print
David Mayer, Stagestruck Filmmaker: D.W. Griffith and the American Theatre
No full textDans Stagestruck Filmmaker : D.W. Griffith and the American Theatre, David Mayer, professeur émérite au sein du département de théâtre de l’université de Manchester, propose de redécouvrir l’œuvre de Griffith à l’aune de son expérience et savoir d’homme de théâtre. Centré sur le parcours du metteur en scène et conçu de manière chronologique, l’ouvrage peut, a priori, sembler surtout biographique mais son ambition excède la figure du cinéaste puisque Mayer souhaite restituer, dans leur complex..
Screening the Gothic genre in Broken Blossoms by D.W. Griffith
No full textL’œuvre de Griffith n’est pas ‘gothique’ mais dans Broken Blossoms (1919), le gothique dickensien trouve une nouvelle existence ; les motifs gothiques canoniques trouvent leur place dans le film tout en subissant des changements.Costa de Beauregard Raphaëlle. Screening the Gothic genre in Broken Blossoms by D.W. Griffith. In: Anglophonia/Caliban, n°15, 2004. Les vestiges du gothique. Le rôle du reste / The Remains of the Gothic. Persistence as Resistance. pp. 227-232
D.W. Griffith, Billy Bitzer, Porter Strong, and others during production of WAY DOWN EAST, 1920
No full textDirector D.W. Griffith, center, Porter Strong, and Billy Bitzer, behind Griffith, holding camera, during production of WAY DOWN EAST, 1920. Others unidentified. 8x10 b&w photographic print
D.W. Griffith Presents "The Birth of a Nation"
No full textSouvenir program from the silent motion picture, "The Birth of a Nation, the Most Stupendous and Fascinating Motion Picture Drama Created in the United States. Founded on Thomas Dixon's story 'The Clansman'", which presents an early 20th-century Southern view of Reconstruction. The program includes a list of cast members, statements about the creation of the film and background of the story, trivia about the film, and blurbs from reviewers
Billy Bitzer and D.W. Griffith during production of WAY DOWN EAST, 1920
No full textCameraman Billy Bitzer, left, and director D.W. Griffith during production of WAY DOWN EAST, 1920. 8x10 b&w photographic print
Miss Carol Dempster acting under direction of D.W. Griffith on our grounds-Nov. 1918
No full textPhotograph of Miss Carol Dempster, an unidentified actor and D.W. Griffith. Miss Dempster and the unidentified actor are holding tennis rackets and reflectors are set up along a group of shrub
'History by Lightning':D.W. Griffith in South Africa
No full textUnsurprisingly, the racial politics of D.W. Griffith’s films had particular resonance for Afrikaner nationalists in the decades leading up to apartheid. This chapter examines the influence on South African cinema of Griffith’s early Biograph films as well as Birth of a Nation. It focuses on two Griffith-inspired films, De Voortrekkers (1916) and Bou van ’n Nasie (literally, ‘Building a Nation’, 1938), which helped to create a ‘white’ South African identity and history in the lead-up to apartheid and National Party rule. These films draw upon Griffith’s ways of representing racial difference, interracial conflict, and the peril and exhilaration of the frontier in constructing their own distorted and highly racialised account of South Africa’s history. Griffith’s ambition towards cinematic historiography in The Birth of a Nation was clearly also instructive, particularly in the case of the 1938 film, made to celebrate the centenary of the Great Trek and commemorate the deaths of 500 white settlers at the hands of the Zulus at Weenen in 1838. The chapter also explores the ways in which Griffith’s imagination was fired by real or imaginary South African contexts, for instance in his short film The Zulu’s Heart (1908), shot in New Jersey with white actors. As well as the trope of the murderous savage, the loyal savage (a central figure in later Griffith films such as His Trust and His Trust Fulfilled, both 1911) is developed here. This trope illustrates the dualisms at the heart of Griffith’s racial ideology, and that of his South African inheritors
Hitchcock on Griffith
No full textSid Gottlieb discusses Hitchcock\u27s essay on D.W. Griffith, A Columbus of the Screen (reprinted in the Hitchcock Annual 14 from the original February 21, 1921 issue of Film Weekly
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