Sergei Bisenstein Books by Sergei Bsenstin Film Form ‘The Film Sense [Notes ofa Film Director Film Esty, with s Leeare 'Non-Lniferent Nature: Fm and the Serucrre of Things | Film Form Essays in Film Theory edited and translated by Jay Leyda A Harvest Book * Harcoury Ine ‘A Helen and Kure Wolff Book Som Die NewYork Landoip red 7b ede spor ain nay omy ay ma tenement phap adg os Pein Deena, Hao EN CaS gb CONTENTS Introduction Appendis A. A Statement on the Sound-Film by Esensein, Padovkn, nd Alexandrov Appendis B. Notes fom a Director's Laboratory Notes on Texts end Tranaions Source Indes a 8 s n % 108 150 "9 195 ar 261 268 mrr un row cevence, not 6 “concer” of corset, contiguns, “inked,” areal independent “Arse re have had placed in our ands a meas of learning the fundamen! we of art-L which hitherto we cool {natch a only piece ere a bi fm the experience of uiving, chee bic from theater price, somewhere ele Fem mascal theory. So the merbod of chem, eben fly omprebended cable ws 9 roeal mn undertnding oft ‘method of ein geal : ‘We indeed have socting tobe proud of on this wenn amiverary of our einera, Within ur country. Ard beyond Ione, Win sh of Sem ll far eyo borders thronghoor the woe ysem of a ‘Yeu we Inve something 10 be provd of-and to work comr fiss01 DICKENS, GRIFFITH, AND THE FILM TODAY ee SES ate Sops Renee cea ey eee Fang "hcl prea, meen SCOR Pavan mes et seca hoe Seer Be ees Cee eee Ceo renee Popeater eared ies es rs sae nae ee eee een eee oe ee Ee a ear Sorters ee Pe epee epee rs Py ens Gee a pens eee eee reas196 ILM FoR Wie phenomenon We know te insrpaable nk Been the Sine andthe indi evden of Amen. We know fw protection ara kere rfc the expt breach td coomrcton ofthe United St of Americ Ard we do iow that Amicon caption fd i sharp sed et {npresie vefecon inthe Ameccan cinema Bor wie posile ier there betwen ths Moloch of sno indy, with ny te a ees and way itor of conpenton, i harane of soc marker rane fron on the one bandh and ss the penetl, paca Vien Lendon of Dickens novel onthe aie Tats begin with thi ny compo.” his “hur” and the tenn! Ths te em ued deci the Une Ser ty penons who Know thi comty sly throngh boli Bookie in quant, and otto arfly ected. Vitor to New York ay nom recover from te stone ishmen a thins of lights (wich scl ines), is tmbirom of te ok mae (aay To ke oot fo be found anywhere) and all hs our (iat enogh to defen TA fa sche ape of the tac coneeds one cst te overvcined by the inthe ares of the ecole for the pe emo the spend cae et thee. Ths puralng nerd Es ithe at thatthe hghpowered saromoe Sire junmed together th hey cat nove ch fae ‘hans creping from lock t lc fang every ro ing wo only fr pedesin crowds be for he coumer ep ing ofthe Cowra “as you make your ner minute progres anit» tighly kel hci of eter heaen sag smialy Nglepow Ext and inpeceply moving mache, you hae ley of ‘leo poner ch daly bend th Syme ace o Ameiny Sd he profound inerdepenenc of ths day in everybody fad everything Ames As yous prhonsepoe mote pal Yow jy fn block to block sony the epelifed er Your eyes wander ore the smoot faces of he dyserper Noo lay crv hough your bri: “Why dont they DICKENS, GUFEIEE, AND THE MILA TODAY 197 xia gig vac atc =e Tes eT ma ape gy cians amen te, erat eie Saceeg ie gata ses Sehr oy tie res Fecnieatacet nae ee Si hoes pray ange szyea wth hee th te ein ep ti igh SS ee lefeco eae of tat fan avy choked nthe soe wes amore ep lr he conde wsig ci ese ne of oie Ecangerecesnantteasraty Soyer itacce sear Eee sivinee aeons reso Soa ere reer pera iiowe Soa ancl dic, the hngog wach of the Un dao, peer eprobactce tr deine a cee aes Sone eae Serie mine ee An eS98 uM Foun. ety md tly id sey mia ete ete ee a ce etc rr ius arte Te eet ener hee pe coter oi ee Mey ene one ilk cara es nan alt mn Yl fn eke ra ee Se Saree aes eee Se ge emi a hee ant Aneta enka iene Se ee Oe where mie Ben er ere oe see Giese kt Se ee ama ene Se ee nae Ca serra 3 fows Meare ne fe See endl alen Satay aeat iy pte ed ee eee core arse seth fa Semel Tine Gia “oe” Dike Pr ice Pe ie yl cen dinette ian a ned Sas Pepe ie ree be at ge atgaies pe eho By DICKENS, GRIFFITH, AND THE FLAC TODAY 199, Un yew we hon rk eer at oe a Ss bal ce Be ee Hearth *) Sty we pel ine crap A dlseup stunted, ve now became aware, with typically Beka on wit oh Cath wet snag cu onde ivy Sond, ea Shilo far hte Za Pee fay ein Ca) et ng oa fie ewe ip ae of a gray Beko fr age Sy Se Ea fog of se ba sera nag Cal nd sae Aalieptot ea ron eyes Sey eg ‘where. And “atmosphere"-always and everywhere one of Seat teal ec ecg Boe wel thc: oie chee tee Wiecncope tu pate mee hein Gat gavignsi’oecben ion sh mage fonlleaoacteTost athe quo wa tiem Kone geveans oe nator Bango me Se ply ah oe puted ule peri oe da Givasiea tecuie atv eet echt Wc ici cpr uy ts eo Selig iy pt en mee nos seaogot ce cpl, Se Saigo bn ae th oy tr tty gm sane wf sitter anes vey yo Cease Saregama ado cat Sissy oe a ne Seige alt pre OS Sy Soe gun be en md mas “elo ie ten, Ai See cadens dered tas, woepea re we to mnt get muiassatrasn fe a pane TE em et eee ee ee Sy ai : orrow and fragile maidens; and ct sana ee at “eas at unl So Bikes hen hws them ey eps o ly other thing to be nocced about [Pecks] is che tere aon veyed inthe sow, dhe be utes "hee ben wh hyn fo do, Disko carte est nga en ey te otf er Be inairara inn terete fence cat stray pg ico rept ee ‘The Pectni the bx ting ine stay he sory th ae eosin oe ete etre polyp ace yt this, Jet us rather return Srl gt oy gageccnaat gd eg cares efor whch er cpg © Bd ner Ga proposed co Bis ‘employers the novelty of a in erie mn ae yee, ion that took place, as Dt ae Sean ars Met (el naw eae ‘Annie Let wale an mgd tig a ih Sh met ee ae ies SEES" Soe sy oiog sew he ta? The pre Sense "Well said Me, Grifith, "does Dickens write chat way?™ “Yes, bur eats Dickens, tts novel wit, tat daca "Ok oto mach he a ue sonata ae Bato spe quite fly, all sonnet on eh sje tod th apparent unezpectdnes of mh satenne eee ered ent onr-Paoree of Dake All of u ead him in cihood, led him down greedy, witout renin eat mech of hice oy Sere ins cpu of dea inthe childhoods ef hs hens econ in that sponcaneois, childike sil for mony-ling, eels ‘ype fr Dicker snd forte Ames anata Sutely and delay plays upon the nfl win de sce We were even las cmcened vith te tela of Dickens compotion: forthe was mipanacne oct Srmed by the feos of thi ecniq we foeaaly feos 1s chases from page to page ching hs chances being abe fom view a he moat ented moans heres ing them reuen afc b tween the separate Hak of the pare lel secondary pot. As children, we paid no attention to the mechanics of this, As adults we rarely rezead his novels. And becoming fa ‘workers, we never found time to glace beoetchthe cover of these novels in order to figure out what exaccy hed caprited tin these novel and with what meen hese increiy many aged volumes tad chained our atention so lest. Apparently Gritch was more perceptive Bur before disclosing what the stely gaze ofthe American fimmaker may have caughe sight of on Dickeads pages T ‘ish to recall what David Wark Grifith himself repretered ‘0_xs the young Soviet filmmakers of the twenties ‘To say ie simply and without equivocain: a revelation, Tey to remember our cacy days, in those Sse yeas of the October soiatstrevoluion. The fires de tbe Homaides of ‘our native film-producers had burnt out the Naod's Charm Naa Charms by Seg) and tthe Hertsde, cw pre-Reyo- Iesoouy Rant femur toe ie “Fine the Hew Te vkncy Soe ‘low ae fee eed fe“Fee pn al oer ti sia et eT "eugene oie cendany Rs tt a ea pete ae Preedemed exploion in the second al of the ‘went, rea pa td ete dee as rai eect er ntan a ea (oe cy ered cs pn Set we cm it pt 2 er Si es eke ae an ee ty le rpc Brymer tity oes tn SPATS coed Ue en sass nibs rare eas PLSD Tipe tele eer Sen ei cay eel iS ec ye year an rea eee ie oe ena Boe exe car rt Hr 33 sro a rin wu ren ec ‘has of post-war Germany, wd Be eT nda mel en foe siecle ii Cn Cage ea a ee pr loom ge ee Sow ye rc et hed Ts sc a wl ak pea es strous chimacras. a * Epes ety 4 eto or arm pane, hypo Se. Sn of cra en eso Reve sein d bear Dag Ae Seldon einige played paste tle They helped siete nln are pul hoe mace meee Tate oro hehe ae sees i letcecl me mee psy haat ir fn. rely tli a rian Pers cake foramen ors apeey ey ns SE ia ay Cems pel ey Te fate der ho stag a Gy Slo ofc tet ty eee en deg nip wine ee Gea cyl oe oping ad wetane as wy capig breccia ga a ee Bayt ecg od ace cheer eda ae ag amr satiate es tt eC et Bong Patents he Retin nels Kans se Be Sek Shadows has not been identied.—somoe, a4 ro rome to os sat fom tat sae ska, dtr nd eros he hae ‘enthralled us was not only these films, it was also eM Site jr wk we te posts na cor fo ae Pesetive craton ofthe Hl areal, i wa the Toke enpermene and tempo of thae anaaing (2d sy leat weg from an unknown coe tat ed ‘rome oo de fa profound, lig, se Seed ae bene a eed Sg gre oan hi tachgrond was Giil- san te casa bs wrist the ocra mae ol Ek fh fo vance psine, ‘The belle ne leas of te Aman ea tee tn with ¢ ts ston of sry, with honan ag, with nage Efe Sh a dis wes done with an atoning wy 0 fod rs pean mil yea bla, wich Eye eeees in The Grey Shade and The Sark of Zamend Po Howe of nt, Tit he cee con Zerpeny pete nd at is we ko SePeGN Moe: cau thee wet steed for ws In a sie wor and fond vet ew cof ia rer of those ie and ‘gee casi of thse yas incor moked GS seme wer ny he mat powetl ae TaD Ae ge Aneta Se. Ths was ine Hehe 2 Sea pointes + mame tht was frie C0 sethe als of ar box iat of engneeing and ec Tract he toctng ae ne mow armen se oP receatoprapy Th province, is met his pe plc af bldg nd cosrton was mots Pfc taht monape wove foundations had teen id by amin Havel but wha fall, eompld, cont Arete Er ein ne exalted by ou Sl Mon ee Sac of whch wl be forvr nked wih ae TP eLiba Mowage, whch plied a mos vial le a the Ske wodt of Ged sed bogie hin is mow gris DICKENS, GRIFFIEM, AND THE LAC ToDAY 205 (Gaifcharived ai hough the method of parallel scion. Abd encataly, was on th that he came to # andl. But vee mut run abd. Lt ws exmioe the qusion of how TBootage came to Gafith or-how Gath came to "montage, Griih seid t montage trot the meshed of paral action, and be was Jed to the Men of paral scion by Dicken! "To this fact Griich hinslf hat tesifid, according to A.B. Walley, in The Timer of London for Apri 36, 935 on the occasion of «visi by the director 9 London. Wekes Mx Walkley: He (Grit) a a plone, by be ove anion, er tan on Invern. That ist my he ha opened ap new pate in Fm Lind ender be pide of tae mpd Yo hin from ext Ha bee ida appa ave come eo him fom Dicken who fas alway ten Ib favorite abot.» Dicks dpe Me Sich wah a He, a hs employe: (aere “bosne” mes) sree bored bot ys Me Gh “twee home reed re of Dickens novela and cae ack nz ay el sem ey Cosi eter me te af my Hea odin 2a” ‘Me. Gri found te deat which he dang tas Beoialy tn Dicks That was ar nck wos hee yf he mage hare {ound the sane ide alma anywhee. Newon deduced the I ‘of qawiacon from te fall of sn. pple, toe 8 pet oc 2 pom srolid have doe jo at we, The ea merely ht of “brea” I'he ate a atiog wf the ary from one group of char ‘tees sano ponp. People who write he lng and cowed Doves tne Dike dd, epecilly when they ate poblihed in pare nd the pice & omvediace, You Wl et wt ia Thackeny, George Bie, Talay, Meredith Hrdy, and, Tsp pews, rey ter Vicon soi.» Mir Grek might hve Tete te sane pracce nox only in Duna pir, who ced pre ‘Som ide shout form tao in greta like Toleoy, Tor fescy and Base Bay + acer of fc wa not any of Ree Gers bur Dickens tha e found i nd sia tf he predominant ffenc of Dickens that he sould be quoted {San sues for «device which ely common t Seton st ee206 ruse vow yen a mperticl sequincance withthe wotk ofthe great Eaglch novel is eough to pernade one tae Dicks iny fave given and did give to cinematography fa more gasance than tat whic led fo the montage ef pil ston sone Dicken earoc tothe characters of cca fa method is, and especially in vewpoine and expoction, indeed ‘zig. Ant i may be dat in the mae of cxacly Bese Chansettiies, iter conmoniy bath for Dickens sd for Cine, thee portion of Oo secret of hat mas scooms tech they bot, spre from themes end pls, troght end ‘il ring to the prt quay of sch epson sd ch VIE wee the nove of Dickens fr hs contempt, for hs rns? Thre son awe thy bore the a Scene ten hat the fn best these nvr ne ‘ey cope ero fe Sse poss They apse tothe sve god td terinenal deer doe etm (oc et on fhe saat. they ae Ser tcl ie ey kel he ery he eral the fin, fc tng. pie depp eset Kn they che ts crn and prac Sitch ee Seal vase "ihumined by hs ligh, refracted from the land of fon bark fe somone tok os fant doe peonc wet gel stot fr ping them eco ines of poenlyromte Sgt Ts ply ners ote ie wach tthe sore ot Dens an yt fa wes rn th ta te river sec of hs roves deed Taney on Dike, Set Zig ops wih cs Jacpion ef ts pope Se ie rae oer ce oe edna ae Gon ceed oo at pee ee Aceon aa tg oe Fol eR eae gehen id SS ans Secrets eb Sere al Br ete SR DICKENS, GRIFFITH, AND THE MEME TODAY 207 “The love Dicken’ contemporaries lied upon the eestor of Pickwick is nor to be anewed by sccoant given in books and biographies. Love Lives and bresthesoaly in te spoken word To irtan adequate idea of the ineensty af thi over ane mst exh (Gs Vonce caught) an Englshran old enough to have youl smemosies ofthe aps when Diane was sl ve: Precahly it fhenld be someane who find card even now to Speak of hit ‘Garis Dicken, chosing, athe, wo we the afccinate chore of Bou” The codon, ged with meancidys which these old Feniisenes ell op giver r of younger gencraon sume ake ling ofthe enthsism tat inepired the heart of thousand when the monthly insalments in dhe biz covers (ret ries, now) sived ae Englsh homes At sich tines my ld Dickenson la ‘ne, people woald walks long way to meet the porsran when 4 frit number was do, so impatient were they 0 read wint Bor had co tell... How could hey be expeced walt pecenly uni the lerter‘eaver, lonbering long’ on an old nag, would rie with the solution of these Buran. peolens?, When he fypaimed hour came roan, olf and young would silly for walking two miles and acevo the pont offer merely to have the ue ones. On ue way home they would mart reading. thre in had not the Tock of holing the bon looking over Ge shen de ofthe more fortunate more; others would tet sont reading Sood a they walled; only perms with 2 geno for seleerfce ‘would defer « purely pesonal grcfcstin, and would scurry buck to shee the teste with wile and cid Tn every village, n every town, in the whole of the Brith ax, tnd far beyond, twa in the reroret part ofthe arth where the Englhsperting nadone fad gone to sete snd colon, ‘Gusls Dickens wat loved. Pople loved him from the fre mo. tment when (Ghvoogh the medium ef prin) they made hs ne ‘geainine une hi dying day. Dickens's tours asa reder ge fal proof of public affe tion for his, both at home and abroad. By nine o'lock on the mocning that tckes for his eerare cours were placed ont sale in New York, there were two lines of buyers, cach more than three quarters ofa nl i length The sche for the course wer all old before noon, Members of fales rived each otber in the Gueves, weiss flew actos208 une roast the sees and squares from the neighboring resaurant, to serve pandas who were taking che Brea inthe open December sin, ‘le excited men ofted five and ten dolla forthe mete per= ‘mision to exchange placer with other pera stnding nen the bead of the line! = agentes 2 See ek ye nae Sw scmmers Seon areih bt fener Beyer econ te ee eee soe Saree : scan oe Bie sid aecng ace Fork York and penne Sates ‘i amaring sce. The aoe anny of speculators have naw fared bese is ge ‘meee i et ‘e (eee Homeric oe ‘ch abe peopl fark Sm be ne ral bleeding whe hy Se Sone ecco Pie eee DICKENS, GRIWTDH, AND THE FILM ToDAY 309 skexhed gallery of immoral Pickwick, Dombeys Fagin, “Tekin a other “ot boone never oocutted to bs biographers to connect Dickes withthe cinsme, hey provide ws wth unaally ob- ieee evidence, dey lng the importance of Dickens ‘observation with our medium. aad Lobo Fomer spsis of Dickens sscallscions of his chid- trod saferings and note ashe could harly fall co note Dik coms aratingly denied memory. He doe not note she should, low tis speracutenes of physical vision conibured base ‘ement to Dickens arciGe method. For with tat actenese of physi vidon, and dat unecingrecllecton of every deta in the thing seen, went an abnormally complete grasp of the thing indie traliey of fe sand sounecton’« ‘And i ever san had ehe gift of the eye-and not merely of, the eye but of the eat, and of the nove—and the fsalty of re ‘membering with microscopic accarsy of deal everything ever seen, or heady or tare, sel or fr that man was Chale Dickens.» The whale plerare are before ur in sigh, sound, ‘work, ttt, and pervading odour jut exaciy oa el lie, and wth vividness tat becomes posiely onesay. ‘To reader les sense than Dicken, this very vividose with ‘which be vinwalizes paintings in plain everyday lf appene fo be texiggerton’ It no such thing. ‘he euch is dat Dickens alleys ses intanly, sd in every ast leas ny ety al that ‘hore to be sean hile leer marae be only a pat and some: times fig pare a hat® ‘Zweig continues the case: He cuts shrough the fog sursoanding the years of childhood tikes clipper dering thrgh the wave In Dev Copperfield, tht masted autobiography, we ae given seaiaicenees of 60" Yyeatold cil concerning Bis moter with her prey bai and SJouthfl shape, nd Pepgocy with no shape a sl memories which Ue like sihooees sending ovt from the blink of hi infancy. ‘There are never any blared contours where Dickens i con ‘ered he dos not gre wr hary ions, bur poral whose every ‘Sera is sharply ened. At he Riel once sad ir he lie things that give meaning to Me, Hel therefore, prpenallyeh rn ran ty ee he of ro Sac ace te mi «tof go Satyr Eas see od Beeps opanea ae wha oe lie Ss CE pee Tea ais Eo meaning in » smile. noe he sales of Bak he wa he at of « wher, be wm pany era eg ogame Berd ett nina berated Ses ray meee a SSIS ae rie eee Sah cries soe ena ae Ta a ae cont ot le Se feral Sam tiene ara aera dad ay ee arom see eed Bae Sete tert maple cae Sac Sah ame od a eee SP Ea areca teem a pny yee fe tates er, ol ‘era mie ogee, Net cr oo i inet ef nce i aed nay Sra SRE ASE caine ein i Sree nem es fa VSM Siege "itary op ey apm ope ie eeepc rl, esa a ne elk or ccre rin arti ps Secs pre eee Ean at See ieelin ad ayaa Sees oe Siete ate a ae es ee ee, ee Ea Se a ee re men tt iin Secure itp Sgt Sn Bie deca emus ee oa py ics can nae ea oe ona Ber Tat deco ae na ae a ere egret te te SEU gs hea ory nen Tag ote tae a ol oe Sov DICKENS, GRIFFITH, AND THE FIM TODAY 207 faced by 4 snake. Small hinge? Exceras? Yex, but chey invariably se sch a wo eco upon the soak ‘The viel images of Dickens are faepatsble from sural mages. ‘The Eagish plilosopher and eric, George Henry Lewes though puzled as tits significance, recorded that "Dickens once declared to me that every word said by his characters was distinctly beard by him.» ‘We can se for ourselves that his descriptions offer nos only sbwolue accuracy of desa, but ao an absolutely accurate rmoing of the bebwior and actions of his characters And this is just ax tre for the mort trifing details of behavioreven, soture, aie for the base generalized characrecitics of the {tage lane this pece of description of Mr, Dombey’s behavior sceuly an exhaustive regsseuractor directive? He had sles lad bis hand upon the ball-rope wo convey hit sal summans to Richards, when hi ye fell wpon a ringed, brlooging to his deceated wile which had been taken, among other things from a caine inher chaber. Te war notte ie ne that his eye had lighted on ic He carried the key in his pocket and be brought ite he ble and peed ie now—having prevnadly lacked de room Soor=with « wel-actsomed bend ere the last phrase arrest one's attention: there i # cet= tain awkwardness in fs descripsion. However, his “inserted” phrase: Being previously locked the room door, “Seed in” Isif recollected by the author in the middle of slater phase, instead of being placed where it apparently should have been, in the consecutive order of the deveripion, that i, before the swords, and be brougbs i 10 bir tables found exact at this spot for quite wnfortitous resson. Ta this deliberate “montage” dslacement of the time-con- tinucy of che description there i riley caughe rendering of the transient ehievery of the action, sipped between the preliminary action and the act of reading aaothe’s letter, cat Fed out with that absolute “correctnes” of gentlemanly dig nity which Mr. Dombey knows how to give to any behevior or seton of hi‘This very (montage) arrangement of the phrasing gives 10 ferace direction to the “performer,” so that in defining this decoroas and confidene opening of che writing des, he mu “play” the closing and locking ofthe door with a hie of an entirely diferent shade of condvct. And ie wosld be this “shading” in which would abo be played the unfolding of the Jeter; bor in this pare of the “performance” Dickens makes, this shading more precise, not only with a significant arrange mene ofthe word bat also with an exact description of char From beneath 4 rap of tom and cancelled era of paps, be took one Inter that remined entre Invokany holding Tread ese opened dis docatsent, aed “btng athe hy scion something of hs aropant demeanour, be st dove, Hs aad upon one hand, and sead ie dhugh, ae ‘The reading itself is done with a shading of absolutely gente- manly cold decorum: . Yee He read it slowly and aveadvely, and with nce pasar {0 every syle Other tan ts is reat delberion sere ‘nau and petaps the res ofan effort equilly gree, Pe {lowed no sgn of choton to espe Him. Whar he hal red it ‘hough he Folded and refolded wy sve Snes, and ore Je carci ino fragments Checking his hand in the act of cow fag dhoe very, be pr them i hi pocket af weiling to ot hess evento the chances of elo rented and deciphered and Instead of ringing, atl for lide rl he st sollary all the ving in hin cherie room. ‘This scene doce not appear in the final version of he novel for withthe sim of increasing the tension of the action, Dickens cot ovt this passage on Forster's advice; in his biog” raphy of Dickens Forster preserved this pusage to show with ‘what mercilesness Dickens someries “cue” wating that had Cost him great labor. This mercllssness once more emphasizes that sharp laity of representation towards which Dickers szrove by all mean, endeavoring with purely cinematic lace ‘im to say what he considered necesary. (This, bythe way, DICKENS, GRIFFITH, AND THE FIM TODAY 313, Imanship and widens Inco a concer with lm-craftsmanship in general This is why I dig more and more deeply ino the fl fbdications of Dickens, revealing them through Grifith—for the wse of furuce flm-esponents. So T mst be excased, in Teafing trough Dickens, for having found in him even “di selve’" How else could this pasage be defined-the opening of the lst chapter of A Tale of Texo Cities: the Pars eect the death-care rumble, hollow nd tuph Sx tombels carry the day's wine wo La Guillotine « ‘Sur tobris roll long the swees. Change thee back again to what they were thou powerfal enchant, Tine and they shall ‘be seen co be dhe caiager of arate monarch, the eqipages of endl nobles the toes of ring Jezebel che churches hat tre not my Fisher’ hore bot dens of thieves, the huts of milons Fev pene!a4 use FoR How many such “cinentic” surprises most be hiding in Dickens pages! However, ler ws rar tthe basic montage strucrre, whose raiment in Dickea's work was developed igo the ements (of film composition in Gris work. Lifting « comer ofthe vel over these riches, these hitherto used experiences, Jt us look into Olver Tess. Open ie atthe ewenty-Ert chapter. Lees read es begining: chapter xxI* Te wat a chee morning when they got inc che sees ‘owing and ring hard and te clouds looking dll and stormy. The tight ad been very wet forage pool of wae had eal lected in he fond: andthe ennele were overdowiog “There yas fear glinmerig ofthe coming day inthe skys bot rather aggravate than reered the loom of the sen: he forbs lgh oly serving c0 ple that witch the set lang af forded, witout shoding any warmer or bigher Gots upon the ‘wer bouetopa snd denaty ween “There sppeced so be nobody seg ta that quaner of the sor fr be wiadows of the neous weal sys ad ‘era Groogh which Gey pane, wer nllon a emp 2 By these dey had raroed into the Bechal Green Rosd, the day had fly Bogan to break. Many of the lamps were l= ady extinguished ‘few counry wagons were dowly toling o, towards London, od now and then a rogecoech, covered with iad, reed bray by: the drive benowing, ashe pused, an almonitory lash upon the bean waggoner who, by keeping on the wrong side of the foud, tad todangered his ariving a Se ofc, x querer af «inate alte is ie ‘The pablichowes, with galighs burning inde, were already open By degrees, other shops began to be unclowedy and a few sate tered people were met with ‘Foe deratcn pupa I have broken thie being of he copes inc mle pel than iis oo, th ebay of DICKENS, GRIFFITH, AND THE FILM TOOAY 215 “Then, came sagging group of labourers gong ro their work; ‘hem en and women wich fh-batew on ter heads donkey cars laden with vegebles, dhevars filled ‘wih Hvewck oe whole caranes of mest, ‘nllewomen with pall {nd an onbroken concoare of peopl, trading out with vaio sepplir the earem mbar ofthe con. 4 As they approached the Cie, the nose and elie gradually Increases ‘and when they threaded the sree berween Shoreditch and ‘Shed chad swelled ico a roar of sound and bose Te wat at ighe a was ly tobe, el night came om again; and ‘he bury morning of half the Loedon population had begun. «++ 4 Te was marker morning ‘Fe ground was coverey nel ankledeep with th ad mig and a thick seam, perpeally ring from the reking bodies of the cate, sod mingling withthe fog, which ceemed re pon the chimey-topa, hung heavily (Coane, burch, deoreen howkers, boys, thew, nd vagabond of every low grade, ‘were mingled opether ia 8 dene mas, 4 the whisting of drovers, the tating of ogy ‘he bellowing snd planging of oxen, the Bling of sheep, ‘he granting and squeaking of pigs; the ei of hawker, the shouts oaths and quarreling on all ies, he Fogg of bells ta roar of voles, hat hd from every poblicchose,a6 ras vows the crowding, pubing, diving, beating ‘wheoping and yell the hideous and dicordane dia thar rexounded from every cot: er of the market, ‘tnd the washed, umhaven, squalid, and diny figures com sesny runing to an fro, and baring in and out of the thong: fodered it + stunning and bewildering scene, which que com founded the vr Flow oftea have we encountered just such structure i the work of Grifich? This austere secumulation and quickening tempo, this gradual ply of light: from buming sreetlamps, to ther being extinguished; from night, ro dawn; from dawn, ‘tothe fall radiance of day (Lear a igh as ws likely tobe, sll nigh come om agen; this calculated eransion fom purely ‘nul elements co an interweaving of them with aura elements at first s an indefinite rumble, coming from afsr at the second stage of increasing light, so tae the ramble may grow into a our, ansferrng ws to ¢ prely aural sructure, now concrete and objective (section sof our breakdown), with mich scenes, picked up en pasant, and intercut into che whole—lke the river, hastening towards his office; and, Sally, these mageif- cently typical detail, the reeking bodies of the cate, from Which the eam rises and mingles with the overall cloud of ‘morning fog, or the cloe-up of the lege in the almost ankle- deep fit and mize, allthis gives ce flles cinematic sensation ofthe panorama of market. Surprised by chee examples from Dickens, we must not for- get one more circumstance, related co the creative work of Dickens in gener Thinking ofthis as taking place in “cory” old England, we are lable to forgee thatthe Works of Dickens, considered not conly against a background of English Kzerature, bur agsinst background of world Urecature of that epoch, as well wee produced as che works of a city art. He was the fice to bring factories, machine, and ralways ino Iertare Boe indication of this “urbanism” in Dickens may be found nor aly in his thematic material, but alo in chat hexd-pinning DICKENS, GRIFFHTH, AND THE WILM ToOKY 247 tempo of changing impresons with which Dickens sketches the city in the form of a dynamic (moneage) pictare; and this montage of is shythms conveys the sensation ofthe limits of speed at that vie (4638), the secaaion of a rushing stage- coseh!| As they dashed by the qulkly-changing and everarying ob- jecs, fe was curoar to obeeve ia what a tangs preston they panel before the ee. Emporis of splendid dreses, te matriee rough fom every quater ofthe word, empang sores of vey thing to simulate and pamper the med appetite and give now relh co the oferepened fear, vnc of bund gol and eve: ‘wroughe int every exquste form of vas, and dh, and gob, gens swords, pistol, and patent engine of dein stews and iron for the erooked,elches forthe newly-bom, droge for the sik, coffins forthe dea, chuch-yarde fr the uried-all thee jumbled cach with the oder and Mocking de by aid, seamed to fc by in modey dance. I this an anticipation of a rymphony of a big city”? * ‘But here is another, direcdy oppose aspect of a cry, out distancing Hollywood's picere of the City by eighty year, 1k comsged several large cers ll very ike one ane nd ke by people equal His one anode’ who al wen in nd ont sth tae hor withthe sate sud apn she an prema, {> do the saw vork, and w@ whom every day war te mine a0 Yyotrday and tomocrow, and every year the Counterpart of the Scand the nexe™ = Is this Dicken’s Coketown of 1853, of King Crowd of 1938? If in the above-ied examples we have encountered proto- types of characteriics for Grifith’s montage exposition, then ‘would pay us to reed farther in Olver Tait, where we can, find another montage method typical for Grfith-the method ‘of a montage progresion of parle scene, itera into exh other. A sfc the Run Fra Sn, Bs Die Sool der ioc’ The8 mane vom For this lt us tur to chat group of scenes in which is se: forth the familar episode of how Mr. Brownlow, to show fait in Oliveri spite of his pick-pocketrepurtion, sends hin to return books to the bookele, and of bow Oliver again fal into the cluches of the thi Sikes, his sweetheart Nancy, tnd old Fagin "These seenes are uncolled absoluely 4 la Gridth: both in theic inner emotional line, a wells ia the wousual sculprar relief and delineation of the characters; in the uncommon full bloodednese of the dramatic a well asthe humorous tats in them; finly, ako in the typical Grifth-exque monage of parallel inrerlocking of all the inks of the separte eptodes Let us give particular aretion to this lst peculiarity, just at ‘unexpected, one would chink in Dickens asi is characteristic for Gries! chapter XIV ow ETM Tae AMARA PEENCTION WHICH ONE AD” +4 "Deae me, Lam very sorry for that" exclaimed Me. Browa, tow, "1 parialarly wished hose books to be returned tonight” ‘Send’ Olver wih them” nid Mr. Grim, with an ioe snide he wil be mre to Sever the sfly, joa know.” “hex; do let me tke them, if you plese, Si sid Oliver, su all she way Si” "The old gerdeman wat just going to say that Olver shuld not go out on any account when a most malicious cough from Me. Grinwig, dttined hie that be should; and die, by his prompt duchinge ofthe commision, he shuld prove wo hen che [Gjosce of hr sapicions on ths head atleast st once. [Olives e prepared for the errand to she books keepec] “Lowe be ten mimo, Si” rpled Oliver ng [Mss Bedwin, ir. Brownlows houskeeper, gives Oliver the ection nd eds hi of) “Blew is sweet facel” sid he old Indy, looking afer him. ‘cant bear, somehow le him go ox of my sight” "At this momen, Olver looked galy sound, and nodded befor + We army ands fve-pound note in he pocket. Hell jin ho DICKENS, GRIFFITH, AND THE FILME TODAY 219 the rue the comer. The old Indy singly reamed his sta tog, nd, cling the door, wer back ober own room. “Lec me see; hell be back in twenty minster, st the longest” ssid Me. Browalow, pling oxt hi watch and placing it on the ‘aie, Te wil be dae by tat tie.” "Oh! you rely expect hin #0 come back, Jo you?” inquired Me, Grinwig “Dow' you?” ated Mr. Brownlow, sing. ‘The ptt of contedction was song in Mr- Gris bree, sg.8 mae a wan ened ong by hi a iene se "Nos" he sd, mtg the exe with his fi I do not. The boy furs new sit of cloths on his back, st of salable boos endce Ilends the thieves and logha¢ you. W ever that bay teams ‘his house Si, Tk eat my Ben” "With hse words he drew bis che closer ro the tbl; and there the ewo friends sat in sent expectation, withthe watch berwees This i followed by a shore “interruption” in the form of & digression le i worthy of remark, as lstrtng he importance we ach tw our own judgment, and the prise with which we pu fort out ‘most rsh and fasty conclusions, hae, alhoogh Me. Grimwig wat for by any menos + badcheared man, and though he would have ‘een anfelgoedy sory to tx hia rected fiend duped and der caved, he realy id one earns and sttongly hopes at that ‘momese, thee Over Twit might nov come back ‘And again rerar tothe two old gentlemen Te grew so dark, hat the figures on the daplte were searesly Alsceribles bot tere the evo old geatenen tontnoed to st i lene: withthe watch between them. ‘Twilight shows that only a licle ime has passed, but the clore-np of the watch, aeady mice shown lying between the ‘old gencleren, sys that 2 great deal of tine has pused already. Bue jut then, as in the game of “will he come? won't he come?", invlving not only the two old men, but also theIind-hearted reader, the wort fears and vague forebodings of the old housekeeper are justifed by the cut to the new scene (Ghupeer XV. This begine with a shore scene in the poblic= howe, with the bandit Sikes and his dog, old Fagin and Mis, (Nancy, who has been obliged to discover the whereabouts of Olver. You are onthe sen, are you, Nancy?” ingired Ske, profer ing the gl ys Lm, BUL replied the young dy, dposing of i con tens, “aad dred enough of Ie a oo, ‘Then, one of the bes scenes in the whole novelnat least ‘one that since childhood has been perfecly preserved, along ‘with the evil figure of Fagin-the scene in which Olivet, marching along withthe books, is suddealy seared by a young woman screaming out very loud, “Oh, ny dear brother!” And he had hardly looked up, co see what the lever wen when he we stopped by ving pai of arm drown ‘Spheround he necks ‘With this conning maneuver Naney, wih the sympathies of the whole ses ake the depertely poling Olver, a tes "prodigal trot” back into the bosom of Fagin’ gang Gf cheves This fitexath chapter class on the now fait ‘montage plese: “The geianps wer lighted Mr. Bevin wis wang eniuy she Spen dr th werent bad ran pte ser sen {© pel hee were any tace of Ole, an sl the two old sere rs penesighy inte a pros with Be wach Etec en In Chapter XVI Oliver, once again in the clutches of the gb mabjected to mockery. Nancy rescues im fom # elas wont an by and see ic done, Fag” xed he ie "Youve goctn bys and horns weld you hve La it bee et EE erra pur cut mark on some of you, ha wll blag 2 te glows ore ny tae” DICKENS, GRIFF, AND THE FILME TODAY — 321 By the way, it charcrecii for both Dickens and Grif- ‘ich to have these sadden father of goodnes in “monly de- {gaded” characters and, though these sentimental images verge fon hokum, they are so faultlessly done that they work on the ‘most skeptical readers and spectator! ‘At che end of this chapter, Olive, sick and weary falls “wound ale.” Here the physical time nity i ierropted—an, evening and nighe, crowded with events; but the montage nity of the episode is not interrupted, sying Oliver to ME. Brownlow on one side, nd to Fagis's gang on the other Following, in Chapter XVIE, isthe arial of the parch beadle, Mrs Bumbie ia response to an inquiry abouc the lost boy, and the eppearunce of Bumble at Mr. Brownlow's again in Grimwig’s company. The content and reason for their con- ‘vermtion is revealed by che very tle ofthe chapter: oun’ DESTINY CONTINUING UNPROPIFIOUS, BRINGH A GREAT MA TO LANDON 70 INJURE mS REPUTATION « fear i is all too tue” sid the old gendeman vorrowtlly, ses looting over she pape. "Th nt ch for yur ine Fgcnce, bot I would gladly have given you teble the money ctor tani de boys a Telenor ata inpeebble the # Mr, Bumble had been peed thi lforation at an eater psi ofthe interview, be ight Save imped vey diferent esoriog to hs Bee Nor. Te wat {0 ate to doi ow weve 9 he shook is ead gravely and, pocketing the five guinea, withdrew. Shs Bodin id Me Brownlow, wen the howekecper ap- pened; “ha boy Olver, i an impetoc™ i cat be Sit cannot be” id the od lady exergy 1 ever wil blee it Se» » Never™ “Aone women never bleve anything be qeachedocar and tying sory Books” growied Me Ging. "T inew ial “Hewes « dese, gf, gene cil, i” ered Mn Bede win, tignany. °L know wha children are, Sis; and have done ere forty years, and people who can't sty the same, shoaldnt ‘7 anything sbont them. That's my opin!” "Ths war's hard heat Mr. Geer, who was bachaloe, As4k exored nothing from thet geneman bat «smile he old lady toed her heh and smoothed down her spon peparsory €0 bother speech when she was stopped by Me. Brownlow. “Since” sd dhe old geoleman fegnig an anger be was far ‘rom feng. "Never let me hear he boys tame psn. I rang 0 tell you tat. Never. Never, on any pretence, mind! You may late the Foo, Ms. Bedi, Remembe! Tam in ere” And che entire intricate montage complex ofthis episode is concluded wih the sentence: “There were sd hearin Me, Brownlow's that night. Te war not by accident that I ave allowed myself such full ‘extras, in tegurd not only to the composition of the senes, ‘bu also to che delineation ofthe characters, for in thee very modeling, in heit characteristics, in their behavior, there is much typical of Geifch's manner. This equally concerns ao his “Dickens-esque” disresed, defenseless creatures (cealing Lilien Gish and Richard Barthelmess in Broken Blotomt ot the Gish srs in Orphans ofthe Seorm), ad is no les typical {or his characters like the two old gentiemen and Mrs. Bed win; and finaly, ie & entirely charscerie of him to have tuck figures at are inthe gang of “the merry old Jew” Fagin. "In regard to the immedi tack of our example of Dickens's montage progrenion of the story composition, we ean present ‘the resus of ie in the following table 1 The old gentlemen. 2. Depareue of Olver. 3 The old gentlemen end the watch I irl ight 4 Digresion on the character of Me. Grimwig. § The old genlemen and the ratch, Gathering righ. & Fagin, Sikes and Nancy in the publi-house, 2. Seane on the sree. The old gentlemen and the watch, The gar-lamps have been lt, 9. Oliver is drugged back to Fagin. 1, Digresion atthe beginning of Chapter XVIL DICKENS, GRIFFITH, AND THE FILM TOOKY 223 1, The joumey of Me. Bumble, . 12, The old gentlemen and Mr, Brownlow's command t0 forget Over forever. ‘cw ence ve before or ype an for Gri, a Mul Sant mong of seo nancy where one he SEE Gektcncay emo eg the cea ood TEER Ait thr te pre of Ove). Tein sean sere ng tov the ering ron hc Gre NES or pall monte cred hs mos gs re , Most curious of all i that in the very center of our break~ of he eps, weed tote “iron see di? Seghaing of Chae: XV on BCR TEER pups slew, Wha arate sou hs Wpelisa' Eiletees orn eee" on he pnp of fe magecomtrction ofthe soy whch be ears est ee reeees and which posed in te se of Gi Beem {eth cam on th ae nal ond mores aay so pots ihe ups nd te comic Scene in a regula ler. abt nye fred and hie ia side of yueaky welcared eae he sks upon wr bed, weighed down by fers ti migorner nb ese ene a a oncom ‘ult roger the nudience witha comse song. We behold, with ‘Ratkin?howons, the herine inthe gop of 2 proud and rethe fe bur: her vee and ber hfe ale i ange exw forth AE dager to preserve the oe a Re con of he othr a jst at egeceone ae wrought up 1 te highes pth a while Siete and we are seighty tatpored to Ge great ball of Shevcasie: where a gery headed senha sings a fnny, chorus Wiss fone body 0 val who ae fret ofall sor of lacs rom chorch vat pcs, nd roum aboot i company, carole lng perpen. See Thang appear aberd bur they are not so won a hey would seo efit sigh The trio in real le from Sellapend tour to devtr-beds, and from mouriageweeds t0 Ton ferme ee ora wht le sarin: ony hte, we ce34 use FORM tay sco insted of pave ker which makes «re die ferme The anne nina ef te shart s til tncienr and abe ipso pasion cg heh roma eloce the tyr of tte apc te tee et Eemned as ogres 8 preposeita "A den slg of es and Fp changes of tine ond plc re nor ol coed bck fog geta e Inty conidered the greta ofstordp eo othe ins ef eng. by meh csc chey ceed it cen {© the denna in hich be ln hi Garces the eo of tery cher ds bet nod so te prom ce ay Foe haps be ‘ened ‘unnecessary. « ® = “Theres another ioereing thing nti ten: ais own words, Dickem (4 ledong amatee att) defs hi dict Feltin to the thener medrams, This asf Dickers bad laced hue inthe poson of «connecting ink berween the Feros unforseen at of the cima, andthe not so ivan (for Dicke) patho tao of “good marderos mel: amas “This “renin” of coune, could nor hve ecaped the 6 ofthe par the Aen fn nd vy fen see tue sem follow the wa yh down 0 the {a flanker ofthe went eenary bythe get sree the neon And Gain Nang stig hn most than once ecknowielged his debe to Dickens meory We have seady seen thatthe fie acreen expan of such a sucture wus by Grifih in Afer Many Pear, en ce ploiaton for which he held Dickeo reponse Ta fs Farther menorible for Being the fie in which the coe 1 imeligenty wed ad, ee, aed Lewis Jacobs bas Scribed Grif approach to the ls up, thee moth eater in For Love of God an aspen oF Yack Londons Jat Meat Cie hs of ede sd ice were ot nin hp tovlyee'ackparpnet by ach iene poneea sno Su Se ae DICKENS, GRUFFTTH, AND THE FILME TODAY 325, “The cline ofthe ory wat the scene in which the ewo thieves begin to dita each other. Is effcivenca depended upon the sbllene'savarenes of what Was going on inthe minds of both ‘thieves The enly known way to inate x players thoaghs wad by double-expntre “dream balloon" Tis convention had growe ‘out of wo misconceptions. fn, thatthe cera mae always be ‘xed ats viewpoint corresponding to that of «spectator fa theatre (the poon now Known at the long shot) the ther, that rene fad to be played in kx ensrery before another wat began. Geis decided now upon a rvolaonary sep. He moved the ‘camera lou co che str, n what is now known 25 the fll hot (lrg view of the actor, 90 thatthe audience could observe ‘he actos pantomime more sony. No one before ad thought ff changing. the poion of the camer in the middle of ‘The net logical step was to being the camera sl closer tthe sector in what & now ealled the cloreop. = ‘Noe sine Porer's The Grest Trai Roibery, some five years before, ad closeup been een in American fine, Used then only ‘a stn (dhe oui war shown Bing atthe andince), the clot Sp bec in Bao dren Catron Per he ld ‘use complemen of the loog shot and fll shor. Going further ‘han he fat weoured before, i a scene showing Anaie Le brood Ing end waidng for he husband's serum Grit daringly used © Iulgecloneap ef er face ‘Breryone inthe Biograph studio was shocked, “Show oaly dhe ned of perce? What wil people say? Is aguas al ues of ‘movie malig” =.= But Grifith had no ime for argument. He had another sur. pris even more radical to offer Inmmedinely Following the coe Up of Anne, he ised »pltre of the objec of her chooghs~ ther husband, cet away ona deer ble, This curing from one seen 10 another, withoor Saihing ether, brought a torent of tdci down pon the experimenter ‘And we have read how Grifith defended hs experiment by calling on Dickens a a wines, Tf these were only the ist itimatons of that which was to bring glory to Grif, we can find full fruition of is236 ULM FORM new method nfm made only ayer after he began to dee, Fine The Loay Vac Ts & cl in ls Bay owcgeg oa Grtthe By June, 1p, Geiih wasaleeady gaining contol of his mate= fal and moved vo farther reave acy: he camied Porters Inkl method * to a new stage of development in. The Lonely Vile, in which he employed rong to heighten suspense ‘hooghout the peal senes where the burglar are breaking in ‘pon the mothe and children while the father i ating home to the rescue Hece he bad Me upon new way of handing ted Aevie~the Ias-mniute rescuevwhich war to serve hie wel for the rat of his career. By March, 19st, Grif frter developed this dijancave method of marion in The Lonedale Operaor, ‘which achieves # much grestr depres of beetles excrement ind ruspense inthe tenes where the ralwaymanere Tlog his ein back to che rescue of the evoine stacked by hold-op ten in the depos” Melodrama, having stsined on American sil by the end of the alnetenth century its most complete aad exuberant ripe ‘nessa this peak must certainly have had » grat influence on GGrieh, whose fie art wat the chester, and tts methods mast Ihave been stored away in Grfiehs reserve fund with no litle quan of wonderfal and charscersie featuses, ‘What was this period of American melodrama, inmediaaly preceding the appearance of GHfith? ts most interesting spect isthe close senicentwining ofboth sides that are char= scteritic for the forure cretion of Grifithy of thore 140 sides, eypcal for Dickens's writing and syle, ebout which we spoke atthe beginning of this exay. This may be illustrated by the thetic history of the original Way Down Eas. Some of this history has been pree served for usin the reminiscences of William A. Brady. These wevinaty ped om a Baia, Por in ry ha en i pb seeing pret ‘ogh fen of sroccug DICKENS GRIFFITH, AND THE FILM TooAY 227 are parclary ineeing 28 records of the emergence and ring of tha heat genre wn athe “homespen ilodrane of ete Cerin fers of hi tadon bv ten prcved fo our own dy. The secener of rch kecly tmofern works as Enkine Galwells Tobeco Roa! and John Srinbecs The Groperof Wrath (in hi orginal wn ln tessa) conn ingreiens common to ths poplar gene “Tse two works comple a ice of rural poy, dedised tothe Armericn coon Beni reminiceres oes ntereig record of he see canbe of te tlodamas on che sages of that x For purely ax raging this ceric embodiment many ca Teniy ances not ony the theme, abject and the inrrpreaony bur even tho maging Methods and fees, ‘wich say een tous “parly ines” with pce ene and begotten by the stent! * A ity sc nme Daman Than nh a ree ws eto an ate ie ce ed oe a ej sal dae ree id ie Wee Tepe at cS ear So Oat of sie ame thems, The Od Homa sae ew pc cng only, er ‘ening il in wen Sealing eer Seo nd Saori of te got ol nds Sunred hero e's god adler Aner and the pee ye fo ety fee an ang te for "ae ces rom ee Ta The Coy rary Nel Bape foes oe er eno mee antec aoa ts a ers BS er ot Saree ee ee iris oy Nos8 vat roan He induced in the ply, for the fst time on any sa ton sn weil He pt the deve a al es the world over vwhen it was tied in other productions, [en Far zed efor twenty year. “The novelty and atraction of this theme material cast in scenic deve of thi sore quickly made it popular everywhere and “homespun dramas sprang up on every side. Another longlved eanhy melodcana was In Old Kenucky, ‘which wih fs Picaninny Band made couple of milion ch yes for io woe, Jacob Lit.» Augartes Thomas ed hi Kind weg » wi of rrale~isbons, con, and Miscurh ‘An energetic all-round entrepreneur like Brady was sure to be drawn fowards thi new money-making drammcc form Al through the ies, T wat 4 very boxy peron ia and sound Broadway. Uacledsnything in he enctinmeet Hoe Indadraman‘on Brosdway of the Bowery, pre Age, bicyle ‘owong oF shor six day, ewenty- fou hoy or spine tegae ball» Broadoword Bight, cake-walls, tgs of war wren Imatces-on the level and made to order, Masquerade balls fo {Ul rations at Madicon Square Garden. Matching Jams J. Corbet ‘guns John LSellvan and winning the welds hesryweight ‘ampiceship, This put me on the top of the world, and 31 had to have Broadway theatre Brady leased the Manhattan ‘Theatre with “a young fellow ‘named Plorenz Ziegfeld, Jr.” and went looking for suething to pot into i A booking agent of mine named Hasry Doel Parker brooght ime a scrip ealed Annie Laie (by bis wie, Lote Blais Parker) Tread and aw a chance to build ie up into one of those rata ‘things that were cleaning op everywhere” v1 tld him the the lay had the makings, and we Bally agreed an ontzighe pure ‘cae prie of ten tousiod dolar, he giving me the right to cll fina play doctor. I gave the job to Jneph R. Grones: who re thtened the ply Way Dosen Eur *Brewbere, Will, A. By tee given more del on Geenert ontrtns “Doing the wee pod eae te of het ‘WU nd ued every sal ews in he United Sats dg foe Way DICKENS, GRFFTTH, AND THE FILME TODAY 229 . We booked ic at or Broadway theater, where ran seven montis, never knowing 4 profile week The crce toe i © plese.” -- Dusag i Broadway ron we ood every tick known fo the Sarstormet 0 pall them in bu t a0 sail «.» We de- pended on “smow"-slooghing New York and is mbarte with rele ‘One night « wel-tnown miaizer dropped in and he woote us ‘nice lentes of appreciation, Tha gave ua cue. We sent out ten ‘housnd “instr dekew” and asked them all for eibote nd gor ‘her. They all ade wat a maerpese-made long speecher fen ‘he mage to that efleceand followed ieup with sermons from tee pulps T hited the big acre sign on he tangle balding at Broadway and Twent-shied Suet (the fist big ene in New York) It cot wt» thoomnd dollar » month. How it did make the Riso wll! Ia one of our weekly press nodces, which Te Sum proved, ated what Way Down But wae beer shan The Old ometead. "That gore ts dogan which lated wenty yer. “The manager of the Acidemy of Mosic, the home of The (Old Homestead, was asked to pat Way Down Ess into his theater. He wa iting, br ined tthe sow ad a rodcon wa to un for spe se: Grier and pt ou beads ger 1 Gcidd on s hope prdoeoon,ewocng hore ee, Sfp al sacs of fro comeyncen 4 monte de dre iy Bat hone for «sighs an cco mownorms dole ‘lee sng a eer oppo he npr es ved forming af asa vale ann reas kwon oer wih # tog tl snyed Now York «fal son, wag roi terlog ove Dodie Goasd doe Aer tat we cay Den a, no eof ten eer hn ein ise Reuagnse yidceey" see a ede ag STAR epee ethers Tea 8 Sie Wy SEERT SESE wed he elo i hl wn in Spy penta i ly eel by Er Spee oe pec Our he ar Pay ESL ces sede er nd fly Stn no hls 2 SSL LIESER LSTA are tern Wey Bows ear230 LM FORM soing. {launched » half-dozen tosig companies. Thy ll leaned & "The show was repeater tnd ic rook tweny-one year to wete ie out The big cites never seamed to grow teed of "The slenr movie righ of Way Don Eat were parched by D. W. Grith for one hundred and seventy thounnd dll, ‘prey yeas afer fie tage production. In the fall of 190, exicty a year before the production of The Greet Train Robbery, « morlisic melodrama ened The Ninery and Nine (the tle derives from s familar hymn, bby Sankey) opened atthe same Academy of Music. Under « striking phoro of the climactic seen in the production, The ‘Theatre Magesne printed this explnstory caption: ‘A hamlet is encircled bya rging price fie and tree thowsand people are ehvetened, At the eadon, chr miles away, saree Df excited people wat ar the telegraph Soke the ory of peti A ‘pci is ready to go to the reas. The enginer i absent ond the ‘Slaven young milonaie refutes fo ake thera to wale the ds “The hero sping forward to tke he place, Daskoos, 2 ooment of eapeney and hen the curtain rie gun pom am exc ene ‘The big sage leery corered with fire. Hames lek the tras ofthe trees, Telegraph pes late andthe wire ap in the ere hae. Sharp tongues of fire eeep ough the gras snd sweep on, Dang Serely In the mide of ie all the msivelocomoti fall aed and sch as dew dhe modern expe tin, almost bud. den from view inthe stom ot stoke Is big dive wheels spin fon the cack, and rocks and rays aif driven a topos speed 1h the eab ithe englner, smoke ged and scarred, while the ‘eran dashes pale of water on hin to prtec in fer the fireman f ing Farther comment seems superuous: here to i the tension of parallel ction, of the race, the chase—the necessity to get tow ds cock wa rel “Th sore which tke econ! ot Sheela oof ew ele cen of mien et ‘Ses hn, cosh leo al pelo lh iy, spree the fama wl the neon ofthe sxvedanglosSecte & sled {By searing the fre bacground in lve don” DICKENS, can TH, AND THE FIM TOOAY 331 there in time, to brea chrough the flaming burir; here too Js the moral’ preschment, capuble of inflaming a chowsand sinises; hereto, answering the “moder” interests of the ttdience is smn i all ts “exotic fullest, here too are the with which Grifich later will eonguer, just as icesibly. But f you thould like ro move the dscusion from general arcnudes of montage over to is mare narroxly specific fer tures Grich might have found sill ocher "montage ancer- tory" for himself—and on hs own grounds, roo. mast segretflly put aide Wale Whitman's hoge montage conception. It must be tated chat Grifth did not continue the Whitman montage tradition (in spite of the Whitman lines on “out of the cradle endlessly rocking.” which served Grifch unsuccesfully as a refrsin shot for his Intolerance; but of eae ltr). Tels here that T wish, in connection with montage, to refer to one of the gayest and witiest of Mark Twain's contempo- ‘ntler—wsing under che nom de ple of John Phoenix. This ‘rample of montage is dated October 1, 1853 (1) and is tken from his parody on 4 current novery—ihstated newspaper. “The parody newspaper is ented "Phoenin’s Pieworial and Second Story Front Room Companion,” and was fst pab- Ished in the San Diego Herald" Among is seve items, ingeniously iustraced with the miscellaneous “boiler-plate™ found in any smalltown newspaper prineshop of the time, there sone item of particular interest for ws ie, ES ap fh Fearful accident on the Princeton Rail Road! ‘Terrible loss of lifel!ae FILM FORK "By alleles fthe a” of manne John Poe “co: jurap ie nage The nage met eins the gly Walp des with theme are inal iS wre, ue from which’ crane deed ‘age ofthe wba. And perce facntng he 2 he "Cieep ofthe fob es ped ent 2 “bug soto fhe vetoed raltny cinch bor both ge els, he cacy ari iy were beg shown on" ale “Gara the grea het hil ing st the pedsnyn of Pro the honed ue of ies teu Geige Harta Decoy, of the Unted Su, Ay Enyce tude a sero Gordon ta ences Sikajor poner eal cogier tls dosha ase Such acne of he ot Ameren ncn of te wonder-woring TEetod of mong! He wa on of theft imperce Ares ‘Sh unos off new ges who Sng rl ote Stile ferermmes of ae "wien homer wih as tcheved oe fer Bla, fer emp te wo wise Bren” dont towe how my readers fe about this, bt for we honaly ts eye ples to ecg agin a ea ‘ie fct tat our Cina i ot altogether withowt parents tnd Tint pegs Without 1 pe ious the wlio tnd Teh cua heage of be pt epecs Te ly very thghes and preps fre wo an eects Stes for Shere proce from prema of oe eile vgn of al Tet Dike ad the whole anes aay, going ack far the Grecls end Sheps be speeds th bth if nd our ce rove oo ogo be ot =e icf i en he nz by Joa Pia otc we heme vanete eR cy aera aie age see Eh ed Gap ee sean anil psa rts eae oe eee DKENS,GRIFTTH, AND THE FLAC TAY 253 solly a of Eden and is flow fnventory but as based on tn etarmous cular past ach par of ths pax ia is own moment of world bittry hs meved forward the great of cinematography. Let this pas be a reproach those thongie feopl whe have played esopace in reference to latatre whic has covtbated fo cho chi epprenly Unprecedented eran yin he fie and mow iportan lace? {hear of vewing-ot ony the ope, but eeung- oth ene lags blag embraced inthis tenn, "Eins eee growth from the cinematographic eye tothe Image of en embodied eewpoine on phenrmene wis one of the mor serious process of deepen of ont Soviet enema {a pertcaor,oor Cnc ko played meons sl inthe Katory ofthe development of wot clara ar awl, an ‘eas sll lent was played by aba wndentanding of the poi of flmemontage, which became wo character forthe Soviet school of i-aling. ‘None the ler enormots wa the fle of Gift also inthe evolution ofthe aptem of Sov montage: Blew enonmoes fs the lle of Dicten in forming the mets of Grit, Dickens inthis respect payed an enormous rl in beige tag the wadion ted ctltunl herige of presedng epoch, jus os onan even higher level we em se the enormous le OF tov soil premises, which ier in those poral no tenes of hizoy ever anew puch ements of the montage Tehed lao the star of ateton for cree wot “These of Gach enormous bat oar cine i acer 4 poor reaver an insolvent debtor of hi I war nara {tat the spit and conten of our county sen themes and sabjecs, would side fr ahead of Gri Westar well t thee reeztion in artis nage. in socal atkudes Grifith was always a libel, never de- tng far fom the dig scrimena hurtin ofthe good i gnreen sad swat dudes of Vicon England ut § Dickens loved wo picture then. His tender-eared fim trom go no higher than + level of Cian acestion of34 rat rons man injustice and nowhere in his flies there sounded rote agi socal injustice. Pin hs best flme he a preacher of pacifm and compro aise wih fte (Int Life Wonderful) or of love of mane Lind “in general” (Broken Blooms). Herein bis teproaches tnd condemnations Gcifth is sometimes able t0 mcend °0 Ingnifcne pathos (infor example, Way Down Est). Th the mare thematealy dubious of his worke-the takes the farm ofan apology fr che Dey Law (in The Sirugge) or for the metaphyseal piloophy of the etemal origin of Good and Ev (in fatolotence). Metaphysics peonestes the kn Which he based om Marie Corel Sorou of Seta. Fialy, ong the most repelent elements inhi fils (and there a Sach) we se Grif aan open apologist for mci, erecting ‘celluloid monument to he Ke Kise Klin, and joining that fetack on Negroes in The Birth of « Nation Nevethles, nothing ean take from Grih the wreath of one ofthe geoine ters of the American cnc ‘ur montage thining i ireepeble from the general cone tent of thinking asa whole. The aructte that erected in the concept of Gach montage i the rvcate of bourgeois tociery. And be actully resembles Dickens "ide of sesh, Wellcuced bacon in actualy (and this no joke), bef Mroren of ineconslably alteeating Ixyers of “white” end “ed'~rich and poot. (This the ena theme of Dickene’s roves, nor does he move beyond thee divisions His marure ‘work, Litle Dorrit ie 30 divided into wo books: “Poverry” sand “Riches:") And tis socery, perceived only ara contrast beriven the haves end the beve-nots,is reflected in the con sciousnes of Grfich no deeper than the image ofan intricate ‘ice berween eo parallel lines. Grifith primarily isthe greatest mater of the most graphic form in thi felda master of parallel monzage. Above ll else, a al nrances she eafemanitip of Geih snag lon wn Salon bl epost octets aeT {is nog Ge hater bees sad eso im DICKENS, GRIFFITH, AND THE FILM TOOK 235 Sich i great mer of ong cosrusons that hae fen creed fre dcevinedquckting snd incense of tempo (china the Secon of the higher fms of parle on )- ke school of Griffith before all else is a school of eempo. However be id ot have the sagt to compete wich fe {young Sovie cho! ef montage inthe field of expen and Gf rkrenly afacive ryt, the tak of hh gous ft beyond the crow cous of po tk ‘e'oes encly tis femure of eventing rhythm os dir singled from fects of tempo thot was noted te appar ttf out Sov ow meric. Afr feces the ‘fer and idea of our works twa ths fare of Sr cee the the American prew of sper readied Boe eve ryt prempponcs above al ongaic unity. Neier tocceatve chanel aero of erect nor an inerwerving of antago themes, bor above alls ty, whch in the play of ner conicons, ehrogh {Gof the ply inthe Sceaon of tncng ix engi pase tha sats ate Base of shyt sw hota ter ‘nity of srry, binging with athe css age ofthe ncacene Tor tat et ois which an be Pail in Sontag stan encely erent ryt of soto in ‘ich -aled pre nntage ca Sgee a oe of he gh Shor priculaty persona tan. "And arly, fhe montage concee of Grit a8 « pr mary pr montage, appr to bes copy of hs Gua ewe ofthe world fntig ino paral Tos of por and ck towands some bypocdcal “conan where the part nes woo eos, nh niyo 35 Insc wt reconcoon” “Thun its to be cxpced tat our concept of montage had to be boon from an Cy free “ing of eed sanding of phenomena, which was opened tw by «world ‘ew Beth ons and Gece or u the microcam af montage ha tobe sndertood ss a ty, which ince ner aero contador haved236 FILM FoR inorder wm be eanenbled in new un on new plane, qualitatively higher, its imagery nevely pret T artempted to give theoretical expresion to this general tendency of our understanding of montage, and advanced this in 191m, thinking least ofall at that tine to what depree our method of montage both generically and in principle was in oppettion to the montage of Griith "This was stated inthe form of a definition of the stages of relationship between the shot and montage. Of the thematic ‘nity of content in a film, of the “sho,” of the “frame” 1 ‘The shoei by no mean a element of monrge The thot i+ monage eel Justa calle in ther divion form + phenomenon of another onde, dhe cxguiam or embryo, 50, onthe other side of the die Tectia lesp from the shot here fs montage “Montage isthe expansion of iners-ahot conflict (oF, contr iceion) a ise in the conflict of two shots standing side by ide Gone witia the shots potential montage inthe development of inten sharing the Guadraeral cage of the shor and ex: Dg io ceficins monte Imps Peover de nme “Then-the threading ofthe confice through a whole sytem of planes, by means of which . we newly collect the dis- integrated even into one whole, bit in our aspect. According to the treatment of our relation to the event” “Thus is broken up a montage smit—the cage—into a multiple chain, which is anew garbered ino a neo wity—in the mon tage phrase, embodying the concept of an image of the phe Tes interesting to watch such a process moving also through the history of language in relation eo the word (the “shot") 19590 "TH Creeps Pi onde an” sand the sentence (che & primitive sage of “word-emtences” ler “foitng” ito the Seence, made up of sepaely independent words 'V.A. Rogoroditcky write that *. + «inthe very beginning mankind expresed his ideas in single words, which were al rimitive forms of the sentence,” ‘The question i presented {i more derail by Academician Ivan Methchaninow: ‘Word ard sentence appear asthe product of history and ate far frm being iden with the whole lengthy epoch of gut tural They ae antedated by an ofolated se, this day 00- ‘erected within the materials of Sncorpoted languages ‘Broken up ino thir commpoaest part, wordremmrces show # miyy between the original words and thie combination la the ‘syntactic complex ofthe eemence, Ths gine « diversi of ow ‘hile in expremive word-combinadons “The embryos of syar, previouly led down, were in a Ient form of incorporated word-senencts, the, later diag 19 de- compost, projected outward. The tentnce appeared to have team broken down tir chi element, that iy the sentence is crested a ach with i laws of eye == We have previouly stated the parscuarity of our arcade towards montage. However, the disincion.berween the “American and our montage conceps gains maximum land clarity if we glance a auch a difference in principle of the ‘understanding of another innovation, introduced by Grifith favo clnemaography and, in the same way, receiving at out frands an endrly diferent underranding. We refer to the closeup, or a2 we spenk of i, the “large scale” “This diinction in principle begins with an essence that exists inthe term ile, "We sy: an objector face is photographed in “lage sale," ke, lege pie proces day. for a, ekg oo Chee ‘Yolo end she Cys A fal sxoae ot thaw of epetaly Impeding yb odo Pfeme Mehat138 ILM Forse “The American sys: near, oF “lose.” * ‘We are peaking ofthe quar ide of the phenomenon linked with fo meaning (jst as we spe of ge en, at 's of one whch sands or, by is spifieace fom the geo: trl ie oro lege pie [bld-acel to empha that wich Spat ental orsign) ‘nong American he rem i sached to wewpoin Among uso abe ele of whe i sen ‘We sale below whats profound dixnetion in pine is hereafter we have andere she system which bth in tthod and in apc, wes he "large ele" in on cnen ina way dcinguhed from the tie of he “clone by the American cine Tn ths compation inmedinely the Sr thing to appetr cll eling othe prin incon othe cltetp at cinema isnot only and not s0 mich to sow or to reset, ‘8 sy, co see meaning co dei. Te our own way we very qui rained the very nate ofthe “lve ner hs been ly noe sole ‘Spaciy 5 ean of showing, in Ameen nema prec "The fine factor that atraced ov in he method the close-up was the dacovery of ie parculriy soning Fes’ erste vs guy of th ssl rom sextape: ‘om of the seperate prt. ‘Where the ile closeup inthe taon ofthe Dickens el wis often «determining or key” del the work of Gait where the altemason of clve.ops of faces was an anccpation ofthe future syochrnizel dalogee (K may be apropos hee 10 mention te Git in hr sod Sl, di to Freshen single method then in x)~there we advo the ides of + pniply mew qualtatie fusion, Bowing ot ofthe proces of fzapostion Si itt, ne or mc The ew Yk Fie ge of ean fare" Bah Se te Sa Tr fe ge bald be he ater ty "dap DICKENS, GRIFETTH, AND THE FILM TODAY 239 For example, i slmomt my frst spoken and waitten declart- tions ofthe "ewentics, I designated the cinema as above all else tare of jumaposiion.” TF Gilbert Seldes is to be believed, Griith himself came to the point of seeing “that by dovealing the ride of the resco- fs ad the error of the baeged in a scene, he wae muliply- {ng the emotional effect enormously; the whole was infinitely ‘renter than the som ofits pars” but this was abo insu ent for us For us this quanttrive accumulation even in such “multi- plying” situations was not enough: we sought for and found fn jurapostions more than that-e quatre leap. “The lap proved beyond che limits of the posaibities of the sages leap beyond the lini ofseuton: leap ino the feld ‘of montage imege, montage understanding, montage a means before all ese of reveling the Weolopcal conception. By the way, in another of Selder's books there appears his lengthy condemnation of the American fils of the ‘wen, Tsing ‘ther spontaneity in pretensions towards “arsine” and “theticality.” I's writen in the form of “An Open Leer to the Movie Magnates Ie begins withthe juicy siluation: “Ignorant and ‘Unkappy People,” and contains inf conclusion sch rematl- able ies a8 these = and then the new Sle wil arsive without your astance. Fer when you and your cspalntons and yout pblichy go down wgeter th fed wil be lft fre forotere. «Presently Kewl be within the reach of arto, With player iatnd of etn snd seueses, with frah idea (among which the ies of maling ‘or of money may be absent) those att will give back vo dhe fereea the thing you have debwoched-imaginston. ‘They. wil reste with the camera, and not record sit x posible oad anole vo crate great cpie of America laduty” and let the machine operates 4 carnter in the play-jost a the land of the ‘Westie sth core muse play Sis par. The psndioe concep ‘ons of Frank Noeris are not beyond the reach of the exert. ‘There are paimers willing to work inthe medium of the eamers240 FILM FoR sod architects and photagraphen, And novels, to, I fay, ‘would fod much of inert lo the scenario as 4 new way of ‘xpresion, Thee leno end to what we ean accomplish. Tr Fordhemovie isthe lmagiantion of mankind action... Selds expected this brighe lm forure to be broughe by some unknawn persons who were to reduce the cost of ls, by some unknown “aris” and by epics, dedicated to Ameri- can industry of American corm. But his prophetic words jor ‘fed themselves ia an entirely different direction: they proved to be a prediction hatin these very years (the book. ppeared in 1934) on the other side of the globe were being prepared the st Soviet fms, which were destined to fulfill AIL his prophecies. For only @ new socal structure which hus forever freed art from narrowly commercial tasks, can give full realization to the dreams of advanced end penetrating Americans! Ta technique abo, montage ook on 2 completely new mean ing at chs ume. "To the paaliclsm and alternating close-ups of America we ‘offer the contrast of tmiting thee in fusion; the MoxrAce In che chery of inerature a trope is defined thus: “a fgure of speech which consis in the use of a word or phrase in a tence other than that which is proper to i”™ for example, 4 sherp wit (normaly, a sharp 00rd) ‘Geift’s loses does nor know this eype of mantage coo” struction. His closeups create atmosphere, outline ete of the characters, alternate in dialogues ofthe leading character, and closeups ofthe caer and the chased speed up he empo ‘of the chase. But Grifith at all times remaias on a level of representation and objectivity and nowhere does he try through the justapostion of shots to shape import and image. ‘However, within the peace of Grith chere was soch an amempt, an erempt of huge dimensions—Iatlerence. “Terry Ramsaye, a historian ofthe Americen film, has define fnively called i "s giant metaphor No les deSniivly bas DICKENS, GRITFETH, AND THE FILM TODAY 241 he called it alo “a magnificent failure” For if Intoleraee— in its modern story-sande unsurpased by Grigth himself, a brillane model of hie method of montage, then atthe sume time along the line of a dese to gee avay from the limits of ‘ory cowards the region of generalieion and metaphorical ‘Mlogry, the picrure is overcome completely by failure. In ex. planing the faure of Imolerance Ramsaye clans ‘Allusion, sine and metaphor cam scceed ia che peated and spoken word a an aid to the dim picorial qualy of the word Sprenion The motion pictre has no we for diem becese i fll the event. I i to specie and Gal to accept soch aids "The only place that these verbal devices have oa the screen i in ‘apport ofthe mb or legend = But Terry Ramsaye i not correct in denying to cinematog- phy all poniiity in general of imitic story-telling, in not permitting the asinlation of simile and metaphor t0 move, fn ts best instances, beyond the text ofthe sub-est “The reazon for thi failure was of quite another nature; par> sicultly, in Grits misunderstanding, that che region of, Ietaphorice and inagie writing appears in the sphere of montage jurteporion, not of represematonal montage pieces. ‘Out ofthis eame his unsaccesfl use ofthe repeted refrain shot: Lillan Gish rocking a cradle, Grith had been inspired to trandate these lines of Wale Whicman, + endinly rocks the erale, Unie of Here and Hereafter notin the structure, nor in be harmonic recurrence of mon= tage exprenioeness, bitin an iolated picture, with the result tha the cradle could not possibly be ebsrated azo an image (of eternally reborn epochs and remained ineviubly simply ecke cradle, calling forth dersion, surprise or Veration in the spectator ‘We know of a netzly analogous blunder in our films, as wel: the naked woman” in Dovehenko's Earth. Here is another This Geis eding of evo Whamas soly wey to ar COmeet tin ce ctly ekg eea4 use roan czampleof «lick of awareness that for imag and exieife- Tike Gor rerreast) “manipulation” of essa thete mst be {8 ehcton of the Uflitereprereraion ‘Sch an aberction of he Mfelke may i certain fetances be given bythe elneap. ‘SNebye tendon wom’ bay: my, say, be heightened to an aye of« Hecafirming Beionng, which that Dovzhenko had to bave, to lah with his montage of he fener ia Bare. ‘A skilfly lading montage cretion with cloves, ken in the "Robes manner” iolted from natural and ab- ace in he necematy econ, could well ave been ited to much “ermal palpable image Bor the whole soae of Ears doomed false, be ‘exwe in place of such montage material the decor cw ino the func ong soto the nein af he pest ha andthe tated woman finging herself about there. And the spectator ‘ould ove pal toate ot of ths conte, Hide women thar genelized tection of log fry, of seul e- airmton, which the diecor washed to comrey ofall ature, dea putt contrat tothe theme of death aa ee funeral’ “This war prevented by the ovens, pots towel, Benche, tale hve deta of every if, fom which the SToman's body could ely have ben feed by the framing of {he thot-ao that rpreemational naar would noe iter- fere wth the embodiment of the conveyed metaphorical as Bat to cen to Grit Ii he made x bnder Deeause of nonsnonage thinking ia the eeaament of ecrtng “wave of tine” through an uncon ‘ining plac idea of rocking cradle chen a the opposte olen the gaterog together of ll four motifs of the long the sme principle of his mong he made another ‘under. “Tis weaving of four epocts was magnifcenly coneived* tc was Pore (aia) who cas explore in fim ei parle Sean ell offs womans one por nd he her ic whe or DICKENS, ORLFTTI, ANO "HEE FLAK TOOKY 243 its ste ‘the moves wl agin ik for corens looked at fom & Il At Bat he far aren wil ow pare oy 0 go ty. Bat they lw, they row mare mal acer ogc {eoieed tac onl ince ok a lr ace ey ml oot igey ver of exprened enon” Bot the fect dide come of. For agsin it turned out «0 bea combination of four differen sori, rather than «fusion of four phenomena ina sngle image generation. Grfith ennounced hs fm as “s drama of comparhons” And tha what Intleronce renga drama of compara rather then x ied, pncerul, generalized image. ere isthe same defect agin: an inability to saat phe nomenon, without which i cannot expand beyond the nor Tony repreentationl. For this reason we could ot resolve inp tnbrexprcenl” “nein (aphored) Only by dividing “hot” from a sbermometer reading may cone ape of a were of het.” ‘Only by abstracting "ep frm meter and fathoms may cone speak of sense of dep” (Only by disengaging “fling” from the formals of the scclorated speedo} fling body (a/2) may one speak fx senston of fling!” However the alae of Intolorence to achieve eve “nine fling” Hes sho in another circumstance the four eptodes ‘hoten by Guth are actully ao-oltble. The formal fl te of thei mingling in «single image of Tncerance's only {reflection of thematic and ieologial err, [bic posible that «ny general feature general and super- fclly metaphysical and vague viewpine towards Intolerance copie shopliing ad ate arene. The ch aoe i fed, ee poor ‘Salk jack THE mys lesen dopended on te puso ‘Fe cots ofthe nuns and fate of the twp momen” (aco) Gale Sis mot anbtas pentane el ofr maki sary form tema to have been ea Home Suet Home Giga4 vu rome (with « capital )—can realy unite in the spectators con scloumes nich obvious historically uncoated phenomens as the religions fanaticism of St. Bartholomew's Eve with labor's struggle ins highly developed capital sate! And the bloody pages ofthe ruggle for hegemony over Asia wich the compli fExfed proces of confit between the colonial Hebrew people and enslaving Mother Rome? lee we find ¢ key tothe reason why the problem of 2b- seracion is not once stumbled upon by Grifih’s montage method, The secret of ths is not profesionsLtechnial, but incl ‘ot that representation cannot be mised with correct preseoraton and erentment othe structure of metaphor, se, Tinage. Nor i ic that Grifth here altered his method, ox his profesional crftemarship. Bot that he made no attempt at feminely thoughtful abstrccon of phenomenamat an trace fiom of generdhzed conclusions om historical phenomena from | wide variegy of Historical data; hat & the core of the fault Ti hieory and economics ic was necessary for the gigantic ‘work of Marx and the continors of his teaching to aid usin understanding tbe les of che process that stand behind mis- ‘ellncous reperete dts. Then science could succeed in ab- ‘Rracting a generalisation from the chaos of tperat rts chat- tererie forthe phenomena, Tn the practice of American film sudios there is splendid profesional term"Iiations” Such a dizectr is “ited” fo musical comedies The “limits” of « certain sctest ate ‘within fashionable wiles. Beyond these “Umitations” (quite tensile ia mort cates) this Or dur lene cannot be thrst Risking departure from these “Timiaions” someries results fn unexpected briliane, but ordinarily, asin commonplace Phenomena, thi leads co failure. ‘Using this term I would say thet i the reim of montage fmagery the American cinema wins no laurels fr itself; and it {is ideological “imitation” cat are responsible fr this ‘This i noe afeced by technique, ace by scope, nor by di- DRESS ORTH, AND TE PAE TODAY 245 The question of montage imagery is bated on definite suc and me of hsking eres and fas ben de Fed ely shivaghcalletive oncioumeny appeving 2 Feccon of « new (soli) nage of hunen feiety and {tiling real of Sal and pong education eats fblyconsected with he scl acre of that soy ‘We, our epoch-vhply eal and ieleclncedd not read the conn of hot withou before all ee ving rnd i ideolgeal nate, and hereto fin inthe japon of ‘hoes an oangemers of ¢ puacioe ener, 8 ne Jnage 4 now undestentig. Cnsikering th, we cold not lp rhing into sharp ex eees in thi trcton, ns Tn October we et sos of arp and tlk nc a cee cf Mens aides the Send Congres of Sores. And ‘harps were sown ot frp Bot San img sya of the lientsperch of Meter poration Ze the ‘Congres: The bas were not sown Oli, bt a fv image of the ssome summing ofthese empey species Jn he face of the putherng sor of ioral rena Ad lacing seb de she Metshevi nd the trp the Mee ‘Ska the baa, we wee extending the fom of eral Iomega anew quay oa nes rei rr he pee UF eto into the pre of siiornee “The prod of such te sn jonopeson psd wvily onogh Simla solos slighty “tune informs any Seas stemped (and me avy succes) wih the al ‘St palace ron of he see fn t ance te which is row done ith sch ene by the mai rack othe sound fin! They quickly depart from the axeen However, the chet thing resineian ondetaning of smontage not meey area of prcing ect bt shove eng of tng a of emma of Communicating thom byway of 8 seca fm wy of peel frm of Sn peck eT * Pier analyse of he err can be foand on page sors.us rus rome The arial a en indersanding of normal fiespcch quite aatuly went through th age of cen nthe rea of the rope tnd prints mesopbor.lesinereing ta ns divectm we wee covering metnodologil ground of grat fog. Way, for ample, the "pot ioge of the cea Sars cing nore chant conbintn of man snd ome wih the aim of eening the image of a dew ect rere: Iewable By tponse (barca mesing wae tx people SFercenan place were highspeed” in the ree) ‘Tus the ery production of simple tenings Tis 8 2 proce of saponin “Teton se ply of saponin montages as och a dep bnelgvou of nfm, On the ter ha isa itrongh elena naked jstaponion thar most be worked tue tape of he compte inet (the ower no Tonget eons) japon that exits in each phe of eriory faa ete momage speech However chs sme proces i a correct forthe prod: sion of my lind of speech in genert and shove ll for that lieray ipeceh, of which we espe. Tes wal own that be etopor an abrged sie “had in connection with tis Mautner bas very aculy writen boo our ngage Every metaphor is wity. A peoples language, af is spoken today, fs he num tol of & milion witicimn + coleton ot the pons of mlion ancodotes whore tors have been lot. Ia thas connection ene smut vnaie the people of the language (esag period a being even seiner that those present-day Wags Svho Ute by hele wit. Wit makes se of diane inde, ‘hove les were esprored immediatly Ino conceps or words. ‘A-change in meaning cons in the congues of these words, in Ge metiphoreal or winy extension of the concept to dant ‘And Emerson say ofthis: [As the insane of the continent consis of infite maces of the ‘el of animaleles, 0 language is made op of images, © ope, DICKENS, GRUFPITH, AND THE FILME TODAY 247 ‘which now ia this secondary we, have long cased to semiad ut (oftheir poi origin [At the threshold of the creation of language sands the simile, che trope and the image. * All meanings in language are imag inoiga, sod ech of thee ‘may a due ee, os its orignal imag source. Both these ses ‘of wordr-imagery and nominagery~ate equilly natural the fnonrimagery of 4 word wae considered dervave as something tlementary (which ici always), that derives from the fac that fees emporary Itency of thooghe (which imagery i fx Dow stop), but meyenentatzaca iore ston aad ie ce prover ‘Sve of scaly dani leey. “The cam observer, reviewing pepared warfeced exprenion cof a more complicated pore creon, may Bnd in his memory 2 corresponding nom imagseexpreson, moe imapscaly core- ‘ponding to Ke (the observers) mood of thought If he says hat {his non imagery is communis et primum ze oflerent rio then he srietes hs own condidon tothe crestor of lnagis expression, ‘This eas if one were to expect tht inthe mide ofa hented bade feds pomible tho calmly to delibernte, a at 3 chew-boar, wih an sheet permet. If one shold tanfer ino the condicon of the pester himself thet would ely revere the aweron of the cold ‘beers and he woud decide ce primen 1 offerens, even if ot comma sexy ais In Werner's work on the metaphor he thus places i in the very cradle of language, although for other mosives—he links ienot withthe tendency to perceive new regions failaizing the unknown through the known, but onthe contrary, with the tendency to ide, to subwirute eo replace in customary ‘uage that which les under some onl banmand is “abu.” eis interesting thatthe “fact word” kel i atually a radi ment of che poetic trope Tadependenty from the connetion berwecn the primary 2nd decisive words say word, as am sural Indiewtion of meaning, ‘bed on te combination of sound and meaning i simaltanety or succeson, eomequenty, ie meronyny248 PUM FORM ‘And he who would tke it into his head to be indignant and rebel again this would inevitably fall to the positon ofthe ‘dane in one of Tieck’s stoic, who exied out: «When a man begins ro compare one object with another, tn lt dey. “The dwn sews tones” Can there be any thing ore sily)*The som sk lao the sen” Sto «= "The ering, ‘Wakes’ There i no moraing, how ean it lep? His nohing The hour when the sun sacs Plague! "The sua does nor ry ht, too i nonsense and poetry. Oh! II bad my will with language, {ed mig propery toar and sweep it O datation! Sweep! In ‘his Tying word, one cannot belp ellng nowseae!*" “The imagietansference of thought co simple representation isalso echoed here. There isin Potebaya a good comment on thi “Tbe image it more important then she representation. There is le of a oak who, in order to peevest himself from eating owt rocking ducing Lene: eacied on Rimelf this invocation: [Sttalng reform thyedk ino a carl” Thistle, seiped of ip sade charter, presen us with univeral Kino pee Tomenon of human thoaghe, word and image ae the spss) Init of the mater, fs ewence™ “That or otherwise the primitive metaphor necessarily sands athe very dawn of lnguage, closely linked with the period ofthe production of the fist transfer, chat ithe frst words to convey eneanings, and not merely motor and objective “understanding, that, with the period of che birth of the fist tools asthe fir means of “transferring” the functions of the body’ and is actions from man hinsel to the tol in his hands. Ie isnot astonishing, therefore, thatthe petiod of the birth of arsiculate montage speech of he forure had also to pass through a sharply metaphories! sage, characterized by. an hundance, if not proper estimation, of “plastic sharps"! However, these “sharpneses” very soon became sesed as ‘exceses and cwiings of tome sor of "language" And atten tion was gradually shifted from cutisey concerning excesses towards an interes ia the arure of sbi hnguage Hel. DICKENS, GRIFFITH, AND THE FHLMC TODAY 249 ‘hos the sre ofthe stactare of montage was gravy reveed a sece ofthe traci of moto peal Fc the ey prlacple of montage at te ene init of formation ithe soba ofan ext copy of te la ue of exted enotona! pec Tis enought examin he characteris of snr speech, in onder be convinced with no farther commen tha Let ws open othe spropie chapter in Vendy exel- lee Bank, Languages PPA Set Vendy “The main diferene beween affective and lope langage Kis in the conteueson ofthe sence: Tos diference tunis out ley when we compite the writen wi the spoken tongue In French the two ue 1 fa fonoved from tah out Ot Frenchman never speaks as he wees and tely wre be ein. 1 The denen tha the writen tong endervouss to com bia inv «coherent whole sez to bedded up and jmed Ee ipatn cng en he ner nel dierent lenges the loge order of prsetday grammar It ha i lope, bei ogee primary acne, a the es are araged sccordnce with te ajociveimporance the sper Bee them or wither to mgyse toh lene, rater than ih he ‘bjt lerof eon proceso eaonng Tithe spoken tng, all des of meaning the pany gran inte sero, dapper If Ly, one or ou wy bas Aisa le rove eel que far renconrs her Ble gore (Than thee you sc tng dow thee on te beach i he whom Tet Yyatrdy the ston) an maling we oft proves of the erie tongue and form but one tence, But in opeing, T ‘hould have mids Vour coy Bion ct ononeci-har eo Sit 2 a greceneh be! Je Fat rencomre bir, lest ls gare (You tee tat man, down there-he ising the beach! Tmt Nim yexerday. be wu atthe stton) low many sere bane we here? Tei very dl ro ny: lrmine at pase where the Ashes ae pre the words vs temavs ould foo on sewence, cacy at fin snower so « qutoo--Where bth ‘run'~Doten tere! And even the sate Ie ati le ee250 FILME FORME cas becomes evo if 1 pause berween the cwo component parst Sais au” [U ee) sar la grove” (or “(eer mr ls eve Ta’) rt ai), The boundaries of the grammatical sentence sf here so lave ha we ad beer give up all arempes to deter frie dem, Ina cermin wre, chore is but one sentence The veal nage & ane thoagh it fellows + Kind of Knemateal development. ‘Bur whereas inthe wren tongoe ft preted ara whole when spoken ir cot up ino short sections whovenurber and otnsy Correspond to the speakers npresion, or to dhe ecesiyy Be feck for vividly communiating them to osbers™ Ibe this an exact copy of whic takes place ia moneage? And ocsn' what is said here about “writen” language seem a do= plication of the clumsy "long shot,” which, when it attepes fo present something draanically, aways hopelesly looks like 4 florid, awkward phase, foll ofthe subordinate clase, pat- ticiples and adverbs of a"thestial”mase-en-scone, with which ix dooms ine? However, this by no meins implies that i is necesary to case at any cost efter “montage hat.” In connection ‘with this one may speak ofthe plrare as the author of "A Discus Sion of Old and New Siyle in the Rosian Language,” the Skvophile Aleninder Shishcov wrote of word In language Both long and shor words are neces for with: cut she ones ngenge vould sound ike the lngedenvorost oo of the cow, tad witout lng onet-tike the short monosaoee ‘chirp of «tgp? Concerning “afecsive logis” about which Vendryes writes snd which is atthe base of spoken speach, montage very picky realized that “affective logic” isthe chief thing, but for finding all the fulles of ie syrtem and laws, montage had to make farther serous creative “crusee” through the “inner monologue” of Joyce cough the “inner monologue” as un- derstood in fil, and hrough the so-called “imtelleccal cin tu," before discovering that a fund of there lnws can be found ina third yariery of speech-not in written, nor in spoken speech, but in mer speech where che fective stctste fone DICKENS, GHUFFITH, AND THE FILME TODAY 251 tions nan een more fl and pre form, Ba the formation of {hs dmner speech i edly Heat fon tat whieh tnvched by eal nding “Thos we rived a the primary source of thse irae principle wich aeady gover fot only ce formation of Ionage, but the ine formation of al works of ara hee tne ics ofthe speech of etn peor of tone enc Int af form wich at she te toby of wort hin are Boca and all kins of arin gen oro thatch ‘Tet us rerum now to hat iar sage when montage in ont eld raid olf at « monee ‘rope and eos fallow ths pth of devlopmere wich i perterel inthe Bld of treatog unity of wor, iscpurbie from that proces ‘hich tesa cosios of isi oan independent ngege, “Thus in ts way, montage became conosof el en us withthe very ft noe inate, br independent se of Tels imereing the eren in te interval between the old cine and ur Soviet cea, rtrces were concede fc along she in of jataposion And ts even more ness sing that ath mage they maori are Known ws con trash Therefore on them above all doe He the nse of ontempiive ttction” inca of an emotional aso soe “ew gal.” at were sedy chancerting the Roe esearch inthe fed of the Soviet cnet own ngurge Sicha speclace play of contr lle for expt, A Pus and Forest fo cary the prc cement from le mothe very aye oft wok te esl con Steins ofa ype of trcroed pron: “ere nd there “efor snd mov” Ix compley nthe ito hep ofthe sine, sitio wo hives showing tn the ee Fan loxte house before (he mae seed fogging) anon therghe-now (schoo inthe se bing stan, Tie comply such typeof eating stow tr we fd athe fms che “prin” of ballerina (te Pate) ao the hacked legs of Belden (he Ferrer). Silay peulaive inthease suLye Forse order of paraleliom ie given ko ia the combination of shots— Beldemann behind bars and . . a caged canary in the jules Tn these and other examples there is nowhere any further tendency cowatds a union of representations in a generained mage: they are united neither by a unity of composition nor by the chief element, emodian: they are presenced in an even fatrative, and notin that degre ofematianal excitement when itis only natural foram imagist tara of spech to arse. Bat pronounced without & corresponding emotional degre, ‘without coresponding emotional prepartion, the “image” in bvitably sounds abeord, When Halt cells Laer: Hoved Ophelis forty thousand brothers Coal not, wth all thele quay of love, Makeup my rim ‘hiss very pathesic and arresting; but tr taking from this the apresion of heightened emotion, tansfer ie © « setting of fortinary lifelike conversation, that consider the immediate bjecive content of this Image, and e will evoke nothing but Taoghes! ‘Sirike (s924) abounded in “tia” of this new and inde pendent dizeeson, The mass shooting ofthe demonstrator in fhe finale inerwoven with bloody scenes at the municipal Slaughterhouse, merged (For that “childhood” of out cinema ths sounded folly convincing and produced a great impres- Sion!) ina Slmmetaphor of "1 human slaygher-hous,” a forbing into iulé the memory of bloody represions on the put of the aurocracy. Here already were not the simple “coor femplatie” contrasts of Polce and Fortes, but alresdy— though sill rude and srl "hand-made"~a consistent and con- scious atempt at justapeition. ‘antaponion, etving to tel about an execution of workers “Tis owed on corey es a of me fa the mene of carvers bere, ‘he Bee ta ‘wa the Fieke Seed by seas cocoa pated ack Ito te sky Si by ee acy Sage CRESS GRITITH, AXD THE FAC TODAY 353 ee eon it era gh se fed “pls tum of spc” approaching a verbal nage o tbody sinupier bose” nes rene in Potemkin the seperate clos-ups of thre diferent mar- ‘ie lions ta diferent atcades were merged ito one Tearing Toe and, moreove in nother lmdimentn~an eabodinent ff ameaphor “The ery ner roe! Gait shows ws an t-reak sing along Somewhere ia the comer of the splintering ee les, unconescas, Anne (L- lan Gut), Leaping from lorcake to eeeake comes Drvid (Gicacd Bartheimes) to sve bet. Tut he pull race of the icetreah and of the buen ctonsare‘nowhere broughe roger by him in + wed {tage of “a nan food. sn of people burting thei fe tent mas of people aing onward ins l-shaterog fun don, w thee for example in the Sale of Mater, by Gonty ZarthvPudorin (OF course, ou this path excess alo occur, and aso bald {atures of course intore than a fw examples these were food beenions dened by shonconings in compostiond rhipes and by incest esos forthe inthe coer Then fn pce ofa Rshing uigyof rage + miserble ope is econ the leva ofan realized fasion, on the level of Irena ping togeber of the type of "Cane he rin tid to oben” Barts or oterwte the dul poral rows chasceriic of Gniich rnin our Cinema onthe way to relaing Benscees In he ferre vty the montage age st fe ata whole sere of pays of montage compares, montage Metaphor rmonage puss “These were more ot lest stormy Boo ll serving to make clearer and clearer the fil maine in the montage sie of esve work-the creation In of an seprble deeation tthe image, of te iid montage Snag, of tbe mame buses embodying the theme, this wis achieved inthe Odes steps of Pott in he “aac of he Kappel Dive Son of Chapeyev in the harcane of Storm Over das nthea8 une rou Daeper prologue of Tom, mate wealy—the landing of We dre for Reba, th ate eagh e "Berto aera" inSbbors in Vereovs Tine Songs Ao Loni nthe "Real ofthe nigh n Alesender Nevihy. «Ths the lorious independent path of the Sore cincna-the path of {he cretion ofthe montage nage

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