Praise for his mastery of film technique is matched by repeated indictments of his moral, artistic, and intellectual inadequacies. At one extreme he is hailed as a modernist who, especially in his early films, redefined melodrama and the way we perceive time and space; at the other he is attacked for his fervid moralizing and vulgarity.
Griffith serves as an introduction to, and a cultural argument for, the work of the first widely acknowledged master filmmaker.
Griffith within film history and American studies, Scott Simmon addresses Griffith's competing reputations as a genius of cinematic form and a retrograde purveyor of reactionary and racist tales.
His study includes extended discussion of Griffith's controversial drama of the Civil War and Reconstruction, The Birth of a Nation, and of his grandiose historical epic, Intolerance, but identifies his enduring work within the approximately shorter films that he directed for the Biograph Company between andyears of rapid change in the film industry.
Major discussion is given to the evolution of Griffith's Biograph films about contemporary city life and to his early domestic melodramas or 'woman's films'. In this cultural reading, Griffith's films are located at a crisis point between two centuries, drawing power from the popular attitudes of nineteenth-century America as they create the patterns for the twentieth century's most distinctive art form.In he won the Alumni Teaching Excellence Award, UNCGreensboro's top honor for outstanding teaching.
He is the author of two textbooks, Narrative Fiction: An Introduction and Anthology (Harcourt Brace, ) and Writing Essays about Literature: A Guide and Style Sheet (Wadsworth Cengage Learning), soon to appear in its ninth edition/5(6). There have come to be two positions on D.
W. Griffith, a modern orthodoxy and a much-needed revisionism. The orthodoxy is a picture of Griffith the great innovator, whose values and intentions.
Online shopping from a great selection at Books Store. "This essay interrogates Sergei Eisenstein's critique of D. W. Griffith's montage aesthetic, arguing that, in Griffith's Orphans of the Storm, historical perspective is constituted in opposition to (rather than as a result of) the forward surge of the film's montage.
Aug 13, · The Films of D.
W. Griffith serves as an introduction to, and a cultural argument for, the work of the first widely ackwledged master filmmaker. Situating D. W. Griffith within film history and American studies, Scott Simmon addresses Griffith's competing reputations as a genius of cinematic form and a retrograde purveyor of reactionary and Seller Rating: % positive.
Griffith continuously cuts from one story to another, inviting the viewer to, at once, get caught up in each individual story and set of characters, and to draw thematic, moralistic connections between them.