Read Ebook {PDF EPUB} Adventures with D. W. Griffith by Karl Brown Adventures with D. W. Griffith by Karl Brown. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 661b969e488296c2 • Your IP : 116.202.236.252 • Performance & security by Cloudflare. BITZER, Billy. Cinematographer. Nationality: American. Born: Johan Gottlieb Wilhelm Bitzer in Roxbury, Massachusetts, 21 April 1872; brother of the photographer John C. Bitzer. Education: Trained as silversmith: studied electrical engineering, Cooper Union, New York. Family: Married Ethel (Bitzer), son: Eden Griffith Bitzer. Career: 1894—joined Magic Introduction Company, later called American Mutoscope, then Biograph Company, and photographed (with Laurie Dickson); projected first Mutoscope films, shown in 1896; in the next dozen years photographed many newsreel and popular interest subjects; 1908—first film shot for D. W. Griffith, A Calamitous Elopement : shot most of Griffith's films until 1924 (in Hollywood after 1913); 1926—founder, International Photographers of the Motion Picture Industries (twice president); worked in a New York photographic shop in late 1930s; 1939—began assembling old cameras and restoring film prints and documents for Museum of Modern Art. Died: Of heart disease, Woodland Hills, California, 29 April 1944. Films as Cinematographer: William McKinley at Canton, Ohio ; Hard Wash. President McKinley's Inauguration ; Mutoscope Shorts. U.S.S. Maine, Havana Harbor ; Spanish-American War Scenes. Jim Jeffries-Jim Sharkey Fight ; Ambulance Corps Drill ; Children Feeding Ducklings ; How Ducks Are Fattened ; Train on Jacob's Ladder, Mt. Washington ; Frankenstein Trestle, White Mts. ; Canadian Pacific Railroad Shots ; Union Pacific Railroad Shots ; The Picturesque West. Galveston Hurricane Shots ; Polo Games, Brooklyn ; The Interrupted Message (+ d, sc); Tough Kid's Waterloo ; Grand Trunk Railroad Scenes ; Water Duel ; Love in the Suburbs ; Last Alarm ; U.S. Naval Militia ; Council Bluffs to Omaha—Train Scenic ; Childhood's Vow ; At Breakneck Speed (Fall River, Mass.) Middies Shortening Sail ; Boats under Oars ; Pan-American Exposition Electric Tower ; Union Pacific Railroad Scenes ; In the Grazing Country ; Fattened for the Market. St. Louis Exposition. I Want My Dinner ; N.Y. City Fire Dept. ; American Soldier in Love and War ; Boy in the Barrel ; Dude and the Burglar ; Don't Get Gay with Your Manicure ; Model Courtship ; Jeffries-Corbett Fight (restaged); Happy Hooligan Earns His Dinner ; How Mike Got the Soap in His Eyes ; In the N.Y. Subway ; Kidnapper ; Physical Culture Girls ; Poor Old Fido ; President T. R. Roosevelt, July 4th ; Professor of the Drama ; Pajama Girl ; Sweets for the Sweet ; Shocking Incident ; She Fell Fainting in His Arms ; Too Ardent Lover ; Unprotected Female ; Unfaithful Wife ; Wages of Sin ; Widow ; Willie's Camera ; Why Foxy Grandpa Escaped Ducking ; Weighing the Baby ; You Will Send Me to Bed, Eh? Auto Boat on the Hudson ; Vanderbilt Cup Auto Race ; Holland Submarine Torpedo Boat ; Children in the Surf ; Coney Island Police Patrol Chicken Thief ; First Baby ; Hero of Liao Yang ; Judge Alton B. Parker ; Lost Child ; Moonshiners ; Person ; Racing the Chutes at Dreamland ; Seashore Baby ; Slocum Disaster ; Speed Test of Tarantula ; Swimming Class ; Two Bottle Babies ; Widow and the Only Man. Al Treleor Muscle Exercises ; Athletic Girl and Burglar ; Auto Races, Ormonde, Fla. ; Ballroom Tragedy ; Barnstormers ; Between the Dances ; Chauncy Explains ; Country Courtship ; Dream of the Racetrack Fiend ; Deer Stalking with Camera ; Departure of Train from Station ; Deadwood Sleeper ; Everybody Works but Father ; Firebug ; Flight of Ludlows Aerodrome ; Fun on the Joy Line ; Gee, If Me Mudder Could See Me ; Gossipers ; Great Jewel Mystery ; Henpecked Husband ; His Move ; Horse Thief ; Impossible Convicts ; Kentucky Feud ; Leap Frog Railway ; Ludlow's Aeroplane ; Lifting the Lid ; Mobilizing Mass. State Troops ; Moose Hunt in Canada ; Mystery of the Jewel Casket ; Nan Paterson's Trial ; Oslerizing Papa ; Pipe Dream ; Quail Shooting ; Pinehurst ; Reuben in the Subway ; River Pirates ; Reception of British Fleet ; Salmon Fishing, Quebec ; Sparring at N.Y. Athletic Club ; Simple Life ; Spirit of '76 ; Trout Fishing, Rangeley Lakes ; Turkey Hunt, Pinehurst ; Two Topers ; Under the Bamboo Tree ; Wine Opener ; Wedding ; Wrestling, N.Y. Athletic Club. At the Monkey House ; Black Hand ; Country Schoolmaster ; Critic ; Dr. Dippy's Sanitarium ; Fox Hunt ; Friend in Need Is Friend Indeed ; Gateway to the Catskills ; Grand Hotel to Big Indian ; Hallroom Boys ; Holdup of Rocky Mt. Express ; In the Haunts of Rip Van Winkle ; In the Heart of the Catskills ; Lighthouse ; Married for Millions ; Masqueraders ; Mr. Butt-In ; Mr. Hurry-Up ; Night of the Party ; Paymaster ; Poughkeepsie Regatta ; San Francisco ; Society Ballooning ; Subpoena Server ; Trial Marriages ; Through Austin Glen ; Valley of Esopus ; Village Cut-Up. Crayono ; Deaf-Mutes Ball ; Dr. Skinum ; Elopement ; Falsely Accused ; Fencing Master ; Fights of Nations ; Hypnotist's Revenge ; If You Had a Wife Like This ; Jamestown Exposition ; Love Microbe ; Model's Ma ; Mrs. Smithers' Boarding School ; Neighbors ; Professional Jealousy ; Rube Brown in Town ; Tenderloin Tragedy ; Terrible Ted ; Truants ; Under the Old Apple Tree ; Wife Wanted ; Yale Laundry. Bobby's Kodak ; Classmates ; Lonesome Junction ; Snowman ; Boy Detective ; Princess in the Vase ; Yellow Peril ; Caught by Wireless ; Famous Escape ; Her First Adventure ; Old Isaacs, the Pawnbroker ; His Day of Rest ; Hulda's Lovers ; King of the Cannibal Islands ; King's Messenger ; Mixed Babies ; Music Master ; Romance of an Egg ; Sculptor's Nightmare ; When Knights Were Bold ; At the French Ball ; Invisible Fluid ; Man in the Box ; Night of Terror ; 'Ostler Joe ; Outlaw ; Over the Hills to the Poorhouse ; Thompson's Night Out ; Black Viper ; Fight for Freedom ; Kentuckian ; A Calamitous Elopement ; Deceived Slumming Party ; The Man and the Woman ; Betrayed by a Handprint ; Monday Morning in a Coney Island Police Court ; Smoked Husband ; The Stolen Jewels ; Where the Breakers Roar ; The Zulu's Heart ; The Barbarian, Ingomar ; Concealing a Burglar ; The Devil ; Father Gets in the Game ; Mr. Jones at the Ball ; The Planter's Wife ; Romance of a Jewess ; Vaquero's Vow ; After Many Years ; The Guerilla ; The Ingrate ; Money Man ; Pirate's Gold ; Song of the Shirt ; Taming of the Shrew ; The Christmas Burglars ; The Clubman and the Tramp ; The Feud and the Turkey ; The Reckoning ; The Test of Friendship ; Valet's Wife ; The Curtain Pole ; Mrs. Jones Entertains ; The Maniac Cook ; A Wreath in Time ; The Honor of Thieves ; The Criminal Hypnotist ; The Sacrifice ; The Welcome Burglar ; A Rural Elopement ; Mrs. Jones Has a Card Party ; The Hindoo Dagger ; The Salvation Army Lass ; Love Finds a Way ; Tragic Love ; The Girls and a Daddy. Those Boys ; The Cord of Life ; Trying to Get Married ; The Fascinating Mrs. Frances ; Those Awful Hats ; Jones and the Lady Book Agent ; The Drive for Life ; The Brahma Diamond ; The Politician's Love Story ; The Jones Have Amateur Theatricals ; Edgar Allan Poe ; The Roue's Heart ; His Ward's Love ; At the Altar ; The Prussian Spy ; The Medicine Bottle ; The Deception ; The Lure of the Gown ; Lady Helen's Escapade ; A Fool's Revenge ; The Wooden Leg ; I Did It, Mama ; A Burglar's Mistake ; The Voice of the Violin ; A Little Child Shall Lead Them ; The French Duel ; Jones and His New Neighbors ; A Drunkard's Reformation ; The Winning Coat ; A Rude Hostess ; The Eavesdropper ; Confidence ; Lucky Jim ; A Sound Sleeper ; A Troublesome Satchel ; 'Tis an Ill Wind ; The Suicide Club ; Resurrection ; One Busy Hour ; A Baby's Shoe ; Eloping with Auntie ; The Cricket on the Hearth ; The Jilt ; Eradicating Auntie ; What Drink Did ; Her First Biscuit ; The Violin Maker of Cremona ; Two Memories ; The Lonely Villa ; The Peach-Basket Hat ; The Son's Return ; His Duty ; A New Trick ; The Necklace ; The Way of Man ; The Faded Lillies ; The Message ; The Friend of the Family ; Was Justice Served? ; Mrs. Jones' Lover ; The Mexican Sweetheart ; The Country Doctor ; Jealousy and the Man ; The Renunciation ; The Cardinal's Conspiracy ; The Seventh Day ; Tender Hearts ; A Convict's Sacrifice ; Sweet and Twenty ; The Slave ; They Would Elope ; Mrs. Jones' Burglar ; The Mended Lute ; Indian Runner's Romance ; With Her Card ; The Better Way ; His Wife's Visitor ; The Mills of the Gods ; Oh, Uncle! ; The Sealed Room ; 1776, or Hessian Renegades ; The Little Darling ; In Old Kentucky ; The Children's Friend ; Comata, The Sioux ; Getting Even ; The Broken Locket ; A Fair Exchange ; The Awakening ; Pippa Passes ; Leather Stocking ; Fools of Fate ; Wanted, a Child ; The Little Teacher ; A Change of Heart ; His Lost Love ; Lines of White on the Sullen Sea ; The Gibson Goddess ; In the Watches of the Night ; The Expiation ; What's Your Hurry? ; The Restoration ; Nursing a Viper ; Two Women and a Man ; The Light That Came ; A Midnight Adventure ; The Open Gate ; Sweet Revenge ; The Mountaineer's Honor ; In the Window Recess ; The Trick that Failed ; The Death Disk ; Through the Breakers ; In a Hempen Bag ; A Corner in Wheat ; The Redman's View ; The Test ; A Trap for Santa Claus ; In Little Italy ; To Save Her Soul ; Choosing a Husband ; The Rocky Road ; The Dancing Girl of Butte ; Her Terrible Ordeal ; The Call ; The Honor of the Family ; On the Reef ; The Last Deal ; One Night and Then— ; The Cloister's Touch ; The Woman from Mellon's ; The Duke's Plan ; The Englishman and the Girl. The Final Settlement ; His Last Burglary ; Taming a Husband ; The Newlyweds ; The Thread of Destiny ; In Old California ; The Man ; The Converts ; Faithful ; The Twisted Trail ; Gold Is Not All ; As It Is in Life ; A Rich Revenge ; Romance of the Western Hills ; Thou Shalt Not ; The Way of the World ; The Unchanging Sea ; The Gold Seekers ; The Two Brothers ; Unexpected Help ; Ramona ; Over Silent Paths ; The Impalement ; In the Season of Buds ; A Child of the Ghetto ; In the Border States ; A Victim of Jealousy ; The Face at the Window ; The Marked Timetable ; A Child's Impulse ; Muggsy's First Sweetheart ; The Purgation ; A Midnight Cupid ; What the Daisy Said ; A Child's Faith ; The Callto Arms ; Serious Sixteen ; A Flash of Light ; As the Bells Rang Out ; The Arcadian Maid ; House with the Closed Shutters ; Her Father's Pride ; A Salutary Lesson ; The Usurer ; Sorrows of the Unfaithful ; In Life's Cycle ; Wilful Peggy ; A Summer Idyll ; The Modern Prodigal ; Rose o' Salem Town ; Little Angels of Luck ; A Mohawk's Way ; The Oath and the Man ; The Iconoclast ; Examination Day at School ; That Chink in Golden Gulch ; The Broken Doll ; The Banker's Daughters ; The Message of the Violin ; Two Little Waifs ; Waiter No. 5 ; The Fugitive ; Simple Charity ; Song of the Wildwood Flute ; A Child's Strategem ; Sunshine Sue ; A Plain Song ; His Sister-in-Law ; The Golden Supper ; The Lesson ; When a Ma Loves ; Winning Back His Love ; His Trust ; His Trust Fulfilled ; A Wreath of Orange Blossoms ; The Italian Barber ; The Two Paths ; Conscience ; Three Sisters ; A Decree of Destiny ; Fate's Turning ; What Shall We Do with Our Old? ; The Diamond Star ; The Lily of the Tenements ; Heart Beats of Long Ago. Fisher Folks ; His Daughter ; The Lonedale Operator ; Was He a Coward? ; Teaching Dad to Like Her ; The Spanish Gypsy ; The Broken Cross ; The Chief's Daughter ; A Knight of the Road ; Madame Rex ; His Mother's Scarf ; How She Triumphed ; In the Days of '49 ; The Two Sides ; The New Dress ; Enoch Arden (2 parts); The White Rose of the Wilds ; The Crooked Road ; A Romany Tragedy ; A Smile of the Child ; The Primal Call ; The Jealous Husband ; The Indian Brothers ; The Thief and the Girl ; Her Sacrifice ; Blind Princess and the Poet ; The Last Drop of Water ; Bobby the Coward ; A Country Cupid ; The Ruling Passion ; The Rose of Kentucky ; The Sorrowful Example ; Sword and Hearts ; The Stuff Heroes Are Made Of ; Old Confecioner's Mistake ; The Unveiling ; The Eternal Mother ; Dan the Dandy ; Revenue Man and the Girl ; The Squaw's Love ; Italian Blood ; The Making of a Man ; Her Awakening ; The Adventures of Billy ; The Long Road ; The Battle ; Love in the Hills ; The Trail of the Books ; Through Darkened Vales ; Saved from Himself ; A Woman Scorned ; The Miser's Heart ; The Failure ; Sunshine through the Dark ; As in a Looking-Glass ; A Terrible Discovery ; The Voice of the Child ; A Tale of the Wilderness ; The Baby and the Stork ; The Old Bookkeeper ; A Sister's Love ; For His Son ; The Transformation of Mike ; A Blot on the Scutcheon ; Billy's Strategem ; The Sunbeam ; A String of Pearls ; The Root of Evil. The Mender of the Nets ; Under Burning Skies ; A Siren of Impulse ; Iola's Promise ; The Goddess of Sagebrush Gulch ; The Girl and Her Trust ; The Punishment ; Fate's Interception ; The Female of the Species ; Just Like a Woman ; One Is Business, the Other Crime ; The Lesser Evil ; The Old Actor ; A Lodging for the Night ; His Lesson ; When Kings Were the Law ; A Beast at Bay ; An Outcast among Outcasts ; Home Folks ; A Temporary Truce ; The Spirit Awakened ; Lena and the Geese ; An Indian Summer ; The Schoolteacher and the Waif ; Man's Lust for Gold ; Man's Genesis ; Heaven Avenges ; A Pueblo Legend ; The Sands of Dee ; Black Sheep ; The Narrow Road ; A Child's Remorse ; The Inner Circle ; An Unseen Enemy ; Two Daghters of Eve ; Friends ; So Near Yet So Far ; A Feud in the Kentucky Hills ; In the Aisles of the Wild ; The One She Loved ; The Painted Lady ; The Musketeers of Pig Alley ; Heredity ; Gold and Glitter ; My Baby ; The Informer ; Brutality ; The New York Hat ; My Hero ; The Burglar's Dilemma ; A Cry for Help ; The God Within ; The Unwelcome Guest ; Pirate Gold ; The Massacre ; Oil and Water ; Three Friends ; The Telephone Girl and the Lady ; Fate ; Adventure in the Autumn Woods ; A Chance Deception ; The Tenderhearted Boy ; A Misappropriated Turkey ; Brothers ; Drink's Lure ; Love in an Apartment Hotel. Broken Ways ; A Girl's Strategem ; Near to Earth ; A Welcome Intruder ; The Sheriff's Baby ; The Hero of Little Italy ; The Perfidy of Mary ; A Misunderstood Boy ; The Little Tease ; The Lady and the Mouse ; The Wanderer ; The House of Darkness ; Olaf, an Atom ; His Mother's Son ; Just Gold ; The Gold ; The Yaqui Cur ; The Ranchero's Revenge ; A Timely Interception ; Death's Marathon ; The Sorrowful Shore ; The Mistake ; The Mothering Heart ; Her Mother's Oath ; During the Roundup ; The Coming of Angelo ; An Indian's Loyalty ; Two Men of the Desert. In Prehistoric Days ; Judith of Bethulia ; The Battle at Elderbush Gulch ; The Battle of the Sexes ; The Escape ; Home, Sweet Home ; The Avenging Conscience. Intolerance. Hearts of the World ; The Great Love ; The Greatest Thing in Life. A Romance in Happy Valley ; The Girl Who Stayed Home ; True-Heart Susie ; Scarlet Days ; Broken Blossoms ; The Greatest Question. FOREWORD. Karl Brown was an eyewitness to the most momentous occasions in the history of the cinema—the making of The Birth of a Nation and Intolerance. As assistant cameraman to the great G. W. Bitzer, Karl Brown was on the firing line of all the D. W. Griffith pictures from 1913 until Broken Blossoms and Griffith’s departure for New York. Following his years with Griffith, Karl Brown joined Famous Players-Lasky and gained a firm place in the history books for his remarkable photography of The Covered Wagon (a second volume is in production dealing with Famous Players, James Cruze, Roscoe Arbuckle . . .). Fie turned director in 1926, and it was his first directorial assignment, Stark Love, that led indirectly to the writing of this book. Karl Brown - Writer. Cinematographer, Director, and Writer. Nationality: American. Born: Pennsylvania, 1897. Family: Married the actress Edna Mae Cooper, c. 1918. Career: 1912–13—laboratory assistant, then in charge of negative processing, Kinemacolor Company, New York (moved to Hollywood, 1913); 1914—first film work, as still photographer on The Spoilers ; 1914–20—assistant and special effects photographer for D. W. Griffith; served in the United States Army during World War I; 1920–26—cinematographer for Paramount; 1920s—associate editor, American Cinematographer ; 1927—directed first film, His Dog ; then director and writer. Died: Of kidney failure in California, 25 March 1990. Films as Cinematographer: The City of Masks (Heffron); The Fourteenth Man (Henabery); The Life of the Party (Henabery) Brewster's Millions (Henabery); The Dollar-a-Year Man (Cruze); Gasoline Gus (Cruze); The Traveling Salesman (Henabery); Crazy to Marry (Cruze) One Glorious Day (Cruze); Is Matrimony a Failure? (Cruze); The Dictator (Cruze); The Old Homestead (Cruze); Thirty Days (Cruze) The Covered Wagon (Cruze); Ruggles of Red Gap (Cruze) The Fighting Coward (Cruze); The Enemy Sex (Cruze); Merton of the Movies (Cruze); The City That Never Sleeps (Cruze); The Garden of Weeds (Cruze) The Goose Hangs High (Cruze); Welcome Home (Cruze); Marry Me (Cruze); Beggar on Horseback (Cruze); The Pony Express (Cruze) Mannequin (Cruze) Films as Assistant and Special Effects Photographer: The Spoilers (Campbell); The Avenging Conscience (Griffith); Golden Days. The Birth of a Nation (Griffith) The Mystery of the Leaping Fish (Emerson—short); Daphne and the Pirate (Cabanne); Intolerance (Griffith); The Flying Torpedo (Emerson) The Great Love (Griffith) Broken Blossoms (Griffith) Films as Director: His Dog ; Stark Love (+ pr + co-sc) Prince of Diamonds. Flames ( Fire Alarm ) Michael O'Halloran ( Any Man's Wife ) Barefoot Boy ; Numbered Woman ( Private Nurse ); Under the Big Top ( The Circus Comes to Town ) Films as Writer: The Mississippi Gambler (Barker) (co) Fast Workers (Browning) Stolen Sweets (Thorpe); City Park (Thorpe); One in a Million (Strayer); The Curtain Falls (Lamont) The Calling of Dan Matthews (Rosen); Tarzan Escapes (McKay) In His Steps ( Sins of the Children ) (+ d); White Legion (+ d); Hearts in Bondage (Ayres) Join the Marines (Staub); Girl Loves Boy (Mansfield); Federal Bullets (+ d) Gangster's Boy (Nigh); Port of Missing Girls (+ d) A Woman Is the Judge (Nigh); The Man They Could Not Hang (Grinde); My Son Is Guilty ( Crime's End ) (Barton) The Man with Nine Lives ( Behind the Door ) (Grinde); Gangs of Chicago (Lubin); Military Academy (Lederman); Before I Hang (MacDonald); Girl from Havana (Landers) Mr. District Attorney (Morgan); Prairie Pioneers (Orlebeck); Rookies on Parade (Santley); I Was a Prisoner on Devil's Island (Landers); Under Fiesta Stars (McDonald); Harvard, Here I Come ( Here I Come ) (Landers) Phantom Killer (Beaudine); Hitler—Dead or Alive (Grinde) The Ape Man ( Lock Your Doors ) (Beaudine) The Chicago Kid (McDonald) Publications. By BROWN: books— With Leonard Fields, The Mississippi Gambler (novelization), New York, 1929. Incorrigible (novel), New York, 1947. The Cup of Trembling (novel), New York, 1953. Adventures with D. W. Griffith , New York, 1973. By BROWN: articles— On D. W. Griffith in Sight and Sound (London), Summer 1973. "Flashback: A Director's Best Friend," in American Film (Washington, D.C.), October 1982. "Billy Bitzer: A Reminiscence," in American Cinematographer (Hollywood), November 1983. "The Blind Leading the Blind," in American Film (Washington, D.C.), December 1984. "Spfx 101: An Introductory Course," in American Film (Washington, D.C.), September 1985. On BROWN: articles— Filme Cultura (Rio de Janeiro), November-December 1969. Quarterly Journal of the Library of Congress (Washington, D.C.), Summer-Fall 1980. Turner, George E., "A Hollywood Saga: Karl Brown," in American Cinematographer (Hollywood), October 1982. Films in Review (New York), vol. 37, no. 4, April 1986. Obituary, in Variety (New York), 4 April 1990. Obituary, in American Cinematographer (Hollywood), June 1990. Karl Brown became associated with the movies in Hollywood when both were young. Brown's credits include photographing The Covered Wagon in the early 1920s and directing Stark Love (1927), a semi-documentary shot in North Carolina; and writing scripts for Columbia and Republic Studios between 1926 and 1945. Brown's career is most memorable in his association with D. W. Griffith between 1913 and 1919. Brown's 1973 Adventures with D. W. Griffith is one of the best sources describing Griffith's working methods. Brown began as an assistant to the cameraman Billy Bitzer, and thus learned how to operate cameras, light scenes, and keep written records of various shots. His book makes clear that he was more than simply an assistant cameraman; he was a jack-of-all-trades for the Griffith organization. Brown describes in extensive detail the planning, shooting, and post-production aspects of Griffith's three masterpieces, Birth of a Nation , Intolerance , and Broken Blossoms . For the last film Brown was in charge of the opening sequence showing ships on the Thames seen from the Limehouse district of London. He was shown a picture and then organized a series of miniature flats, groundrows, moving boats, and a trough of water. He lit the scene so that when photographed it provided a Whistler-like illusion of a London dockside. This one example is typical of the pictorial values Griffith emphasized and which he expected from his collaborators. It also shows how good a student of both Griffith and Bitzer Brown had become. Brown's career as author and screenwriter included work for Columbia, Republic, and a few independent producers. Most of these films are gangster pictures, courtroom dramas, military situations, or horror stories. Had not Brown had good notes and recollections and been encouraged to publish them, he would probably be almost forgotten today. It is fitting, however, that a person who spent so much time on the routine tasks of filmmaking in its early Hollywood years will now be remembered because of his thoughtful book. Now, as then, moviemaking is a collaborative effort, and while a few key individuals receive major credit, no work would succeed without the many workers who, like Brown, also make fundamental contributions. Letters To the Editor. For decades Seymour Stern has been familiar to film students as the self‐elected “sole possessor” of the truth about D. W. Griffith. He has savaged Griffith books again and again while his own opus, in the works since the 30's, remains unfinished. His essays and pamphlets over the years repeat the same old theme: Griffith was the victim of a Communist plot in Hollywood. However, it is not the opinions expressed in his double review (Dec. 16) of Karl Brown's “Adventures With D. W. Griffith” and G. W. Bitzer's “Billy Bitzer: His Story” I object to, but the distortions of fact. He has now found a plot at Farrar, Straus & Giroux. I quote him: “Both [books] are tailored to the same literary and editorial policy: like official handouts that hew to a fixed authoritarian line.” What line? The books are as different as night and day, as his review finally points out. Stern storms about “undocumented incidents; unverified quotations or dialogue, and unsubstantiated credits,” denouncing both books as “'pop’ histories of the movies.” This sounds authoritative, but neither book is a history. They are both memoirs, personal accounts by Griffith coworkers which will contribute to later film histories (perhaps even stern's. As memoirs, they are human and fallible. How perceptive of Stern to spot an obvious slip about Bosley Crowther that was left uncorrected. Stern calls this “typical of the [Bitzer book's] scholarship and of its ‘amazing accuracy.” What scholarship? No one ever contended that Bitzer was a scholar, least of all Bitzer himself. And won't most readers deduce from Stern's quotes around “amazing accuracy” that these words appear somewhere on the jacket or in the book as the publisher's claim? They do not. Neither do they occur in the introduction by Beaumont Newhall, the photography critic and historian, which Stern carefully refrains from crediting. Newhall writes: “Bitzer sums up his contribution in one humble sentence . . . ‘what Mr. Griffith saw in his mind we put on the screen’ [italics mine].” Unfair though Stern is to Bitzer, he is even more unfair to Brown. The late Billy Bitzer did not pretend to be a writer but Brown is a gifted one, as Professor Edward Wagenknecht, the distinguished film historian, confirms: “It is a miracle that Karl Brown should turn up with such a fine book as this in his mind and his typewriter.” Kevin Brownlow, whom Stern incorrectly calls the “compiler” of Brown's book, attests: “The book is indisputably authentic. In my opinion, it represents the most exciting, the most vivid, and the most perceptive volume of reminiscence ever published on the cinema. It is also one of the few that bears no trace of a ghost writer.” Yet in commenting on Karl Brown's account of what Bitzer said to him (in 1913!) when he was hired as a cameraman, Stern oddly says: “Whether Bitzer actually made this statement, I do not know.” Why not? Is a man to be accounted a liar solely because he has no tapes? Of course that is it: he, Stern, alone possesses'the truth. I can only consider it fortunate, since one of his proofs of our plot is that “both [books] are published by the same house,” that he missed our third Griffith item, “Biograph Bulletins, 1908‐1912,” with an introduction by Eileen Bowser, published by our division, Octagon Books, or he might have charged us with high treason. Chairman of the Board, Farrar, Straus & Giroux, New York City. In your issue of Dec. 2 you ran a review by John Canaday of “The Monastery of Saint Catherine at Mount Sinai,” issued by the University of Michigan Press as a volume of plates to be followed by a future volume of accompanying text. Mr. Canaday's review is most generous, but the undersigned, who are the authors of the book, would like to correct one detail. ‐ He writes that, according to his information, “the text volume is unlikely to materialize.” Actually, preparation of it, including detailed analyses, further drawings, etc., is well advanced. Likewise the first of several subsequent volumes, which will deal with the icons and other art historical collections in the Monastery, is now being prepared for publication by the. GEORGE H. FORSYTH. Princeton, N.J. Liberal. I would like to correct three factual errors in John Kenneth Galbraith's review (Oct. 7) of my book, “Liberal America and the Third World: Political Development Ideas in Foreign Aid and Social Science.” Mr. Galbraith states that “the first part of [the book] is a detailed survey of liberal attitudes toward economic development in the fifties and sixties; the second part is a survey of the more formal theories of development and political change of the postwar years The author has no problem in showing that much of liberal rhetoric about economic development and political democracy in the period of effort and enthusiasm was egregiously optimistic or simply. The first and most serious error is the assertion that the book is only about “liberal attitudes” and “liberal rhetoric.” By “liberal” here Mr. Galbraith means people on the left and center‐left of American politics; these he contrasts with what he calls “a certified southern conservative” like Eugene R. Black. But the book is entirely about both liberals and conservatives in Galbraith's sense; about, as wrote on page 7, “Richard Nixon as well as Hubert Humphrey, John Foster Dulles as well as Dean Acheson or Dean Rusk or Harry Truman, Lyndon Johnson as well as John Kennedy.” The “liberalism” referred to in the book's title, and which constitutes the main theme of the book, is not that of Mr. Galbraith's “The Liberal Hour”; rather it refers to the Lockean consensus shared by nearly all Americans (including Eugene Black) that Louis Hartz described in his seminal work “The Liberal Tradition in Amer. Second, the first part of the book is not about ideas of economic development; it is about ideas of political development. This error Mr. Galbraith could have avoided by close inspection of the subtitle or by casual inspection of the first half of the text. Third, in fact less than half the book is a “survey.” The balk of it is devoted to explaining the roots of these ideas, to evaluating their appropriateness and to assessing future alternatives.