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Ray Pride

By Ray Pride

The Inception of Movie Editing: The Art of D. W. Griffith

A video essay by Michael Joshua Rowin and Kevin B. Lee. Worth it for a glimpse of a tinted Intolerance backed by Hans Zimmer’s Inception score as well as its punchline.  Text. [Via Matt Zoller Seitz (@mattzollerseitz).]

One Response to “The Inception of Movie Editing: The Art of D. W. Griffith”

  1. Messrs. Rowin and Lee did an outstanding job of presenting the complex editing skills and styles of D.W. Griffith, which are one of the primary reasons for his place of prominence in the history of American film. He was the first American director who astutely took all of the basic techniques of film grammar and synthesized them into an art form of storytelling on celluloid. As discussed in this video, Griffith’s invention of parallel editing was a true cinematic breakthrough. It not only enabled films to create scenes of agonizing suspense, as events occuring in multiple settings but happening simultaneously could now be depicted, but it also enabled storylines to use editing to show contrasts (as in “A Corner in Wheat” (1909). I’m very pleased that Messrs. Rowin and Lee have made such a great effort to give credit to Griffith for this important and ongoing contribution to film technique.

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“Would I like to see Wormwood in a theater on a big screen? You betcha. I’d be disingenuous to argue otherwise. But we’re all part of, like it or not, an industry, and what Netflix offers is an opportunity to do different kinds of films in different ways. Maybe part of what is being sacrificed is that they no longer go into theaters. If the choice is between not doing it at all and having it not go to theaters, it’s an easy choice to make.”
~ Errol Morris

“As these stories continue to break, in the weeks since women have said they were harassed and abused by Harvey Weinstein, which was not the birth of a movement but an easy and highly visible shorthand for decades of organizing against sexual harassment that preceded this moment, I hope to gain back my time, my work. Lately, though, I have noticed a drift in the discourse from violated rights to violated feelings: the swelled number of reporters on the beat, the burden on each woman’s story to concern a man “important” enough to report on, the detailed accounting of hotel robes and incriminating texts along with a careful description of what was grabbed, who exposed what, and how many times. What I remember most, from “my story” is how small the sex talk felt, almost dull. I did not feel hurt. I had no pain to confess in public. As more stories come out, I like to think that we would also believe a woman who said, for example, that the sight of the penis of the man who promised her work did not wound her, and that the loss she felt was not some loss of herself but of her time, energy, power.”
~ “The Unsexy Truth About Harassment,” by Melissa Gira Grant