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Cutting Patterns in DW Griffith's Biographs
Cutting patterns in D.W. Griffith’s Biographs: An experimental statistical study Mike Baxter, 16 Lady Bay Road, West Bridgford, Nottingham, NG2 5BJ, U.K. (e-mail: [email protected]) 1 Introduction A number of recent studies have examined statistical methods for investigating cutting patterns within films, for the purposes of comparing patterns across films and/or for summarising ‘average’ patterns in a body of films. The present paper investigates how different ideas that have been proposed might be combined to identify subsets of similarly constructed films (i.e. exhibiting comparable cutting structures) within a larger body. The ideas explored are illustrated using a sample of 62 D.W Griffith Biograph one-reelers from the years 1909–1913. Yuri Tsivian has suggested that ‘all films are different as far as their SL struc- tures; yet some are less different than others’. Barry Salt, with specific reference to the question of whether or not Griffith’s Biographs ‘have the same large scale variations in their shot lengths along the length of the film’ says the ‘answer to this is quite clearly, no’. This judgment is based on smooths of the data using seventh degree trendlines and the observation that these ‘are nearly all quite different one from another, and too varied to allow any grouping that could be matched against, say, genre’1. While the basis for Salt’s view is clear Tsivian’s apparently oppos- ing position that some films are ‘less different than others’ seems to me to be a reasonably incontestable sentiment. It depends on how much you are prepared to simplify structure by smoothing in order to effect comparisons. -
Film and Politics
Politics and Film PS 350 – Spring 2015 Instructor: Jay Steinmetz – [email protected] Office hours and location: Wednesdays – 3 to 5, PLC 808 GTFs: TBD Culture constitutes shared signs and expressions that can reveal, determine, and otherwise influence politics. The film medium is perfectly tailored for this: the power of moving image with sound, reflected in public spaces, produces politically charged identities and influences the way spectators see themselves and their shared communities. Moreover, the interwoven nature of the economic and social in cinema makes it an especially intriguing site for observing change of political culture over time. The economic commodity of the cinema is necessarily social—a nexus of public and shared images of the world. Conversely, the social constraints (ie moral regulation or censorship of film content) is necessarily shaped by economic factors. The “Dream Machine” of Hollywood is a potent meaning-making site not just for Americans but across the world (today, roughly half of a Hollywood film’s revenue often comes from overseas), and so this course will pay close attention to Hollywood film texts and contexts in a global setting. The second half of the term (starting in Week 5) will shift to a comparative approach, contrasting American and Italian film styles, industries, regulatory concerns, and economic strategies. Analytic comparison is a crucial aspect of this course—be it comparisons across genres, time periods, films, or industries—and will culminate in a comparative research paper due on Week 10. There will be one film screening in class every week. Please note: Attendance to these screenings is part of your class responsibilities. -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
9. List of Film Genres and Sub-Genres PDF HANDOUT
9. List of film genres and sub-genres PDF HANDOUT The following list of film genres and sub-genres has been adapted from “Film Sub-Genres Types (and Hybrids)” written by Tim Dirks29. Genre Film sub-genres types and hybrids Action or adventure • Action or Adventure Comedy • Literature/Folklore Adventure • Action/Adventure Drama Heroes • Alien Invasion • Martial Arts Action (Kung-Fu) • Animal • Man- or Woman-In-Peril • Biker • Man vs. Nature • Blaxploitation • Mountain • Blockbusters • Period Action Films • Buddy • Political Conspiracies, Thrillers • Buddy Cops (or Odd Couple) • Poliziotteschi (Italian) • Caper • Prison • Chase Films or Thrillers • Psychological Thriller • Comic-Book Action • Quest • Confined Space Action • Rape and Revenge Films • Conspiracy Thriller (Paranoid • Road Thriller) • Romantic Adventures • Cop Action • Sci-Fi Action/Adventure • Costume Adventures • Samurai • Crime Films • Sea Adventures • Desert Epics • Searches/Expeditions for Lost • Disaster or Doomsday Continents • Epic Adventure Films • Serialized films • Erotic Thrillers • Space Adventures • Escape • Sports—Action • Espionage • Spy • Exploitation (ie Nunsploitation, • Straight Action/Conflict Naziploitation • Super-Heroes • Family-oriented Adventure • Surfing or Surf Films • Fantasy Adventure • Survival • Futuristic • Swashbuckler • Girls With Guns • Sword and Sorcery (or “Sword and • Guy Films Sandal”) • Heist—Caper Films • (Action) Suspense Thrillers • Heroic Bloodshed Films • Techno-Thrillers • Historical Spectacles • Treasure Hunts • Hong Kong • Undercover -
National Film Registry
National Film Registry Title Year EIDR ID Newark Athlete 1891 10.5240/FEE2-E691-79FD-3A8F-1535-F Blacksmith Scene 1893 10.5240/2AB8-4AFC-2553-80C1-9064-6 Dickson Experimental Sound Film 1894 10.5240/4EB8-26E6-47B7-0C2C-7D53-D Edison Kinetoscopic Record of a Sneeze 1894 10.5240/B1CF-7D4D-6EE3-9883-F9A7-E Rip Van Winkle 1896 10.5240/0DA5-5701-4379-AC3B-1CC2-D The Kiss 1896 10.5240/BA2A-9E43-B6B1-A6AC-4974-8 Corbett-Fitzsimmons Title Fight 1897 10.5240/CE60-6F70-BD9E-5000-20AF-U Demolishing and Building Up the Star Theatre 1901 10.5240/65B2-B45C-F31B-8BB6-7AF3-S President McKinley Inauguration Footage 1901 10.5240/C276-6C50-F95E-F5D5-8DCB-L The Great Train Robbery 1903 10.5240/7791-8534-2C23-9030-8610-5 Westinghouse Works 1904 1904 10.5240/F72F-DF8B-F0E4-C293-54EF-U A Trip Down Market Street 1906 10.5240/A2E6-ED22-1293-D668-F4AB-I Dream of a Rarebit Fiend 1906 10.5240/4D64-D9DD-7AA2-5554-1413-S San Francisco Earthquake and Fire, April 18, 1906 1906 10.5240/69AE-11AD-4663-C176-E22B-I A Corner in Wheat 1909 10.5240/5E95-74AC-CF2C-3B9C-30BC-7 Lady Helen’s Escapade 1909 10.5240/0807-6B6B-F7BA-1702-BAFC-J Princess Nicotine; or, The Smoke Fairy 1909 10.5240/C704-BD6D-0E12-719D-E093-E Jeffries-Johnson World’s Championship Boxing Contest 1910 10.5240/A8C0-4272-5D72-5611-D55A-S White Fawn’s Devotion 1910 10.5240/0132-74F5-FC39-1213-6D0D-Z Little Nemo 1911 10.5240/5A62-BCF8-51D5-64DB-1A86-H A Cure for Pokeritis 1912 10.5240/7E6A-CB37-B67E-A743-7341-L From the Manger to the Cross 1912 10.5240/5EBB-EE8A-91C0-8E48-DDA8-Q The Cry of the Children 1912 10.5240/C173-A4A7-2A2B-E702-33E8-N -
Genre and Australian Film
Cambridge University Press 978-0-521-61327-9 - Film in Australia: An Introduction Albert Moran and Errol Vieth Excerpt More information 1 Genre and Australian Film The purpose of criticism by genres is not so much to classify as to clarify such traditions and affinities, thereby bringing out a large number of liter- ary relationships that would not be noticed as long as there was no context established for them. Frye 1957: 154 When we examine literature from the point of view of literary genre, we engage in a very particular enterprise: we discover a principle operative in a number of texts, rather than what is unique about each of them. Todorov 1975: 19 Why Genre? The aim of this book is to promote the study of Australian feature films in terms of genre. As Todorov suggests, genre is synonymous with the idea of kind, a subspecies of the totality of a particular cultural output. While his and Frye’s remarks are developed in relation to poetry, drama and prose rather than to cinema, nevertheless many elements to do with these genres are also, broadly, applicable to film genre. Indeed, one significant linguistic development in the past thirty years has been the everyday adaptation of the French term ‘genre’.In times past, film genres had been popularly recognized only in their specificity: this film is a comedy and that one is science fiction. Now, there is a common term that identifies film types such as comedy and horror as belonging to a larger class or kind. The French term genre has become an ordinary, taken-for-granted word in the English language used as an immediate way to designate a film kind or type. -
Cinefiles Document #5962
Document Citation Title D.W. Griffith touring show Author(s) Tom Gunning Ron Mottram Source Museum of Modern Art (New York, N.Y.) Date 1975 Type program note Language English Pagination No. of Pages 40 Subjects Griffith, D. W. (1875-1948), LaGrange, Kentucky, United States Film Subjects The fugitive, Griffith, D. W., 1910 The white rose, Griffith, D. W., 1923 Intolerance, Griffith, D. W., 1916 Broken blossoms, Griffith, D. W., 1919 Orphans of the storm, Griffith, D. W., 1921 America, Griffith, D. W., 1924 A corner in wheat, Griffith, D. W., 1909 Hearts of the world, Griffith, D. W., 1918 The avenging conscience, Griffith, D. W., 1914 Isn't life wonderful, Griffith, D. W., 1924 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) The birth of a nation, Griffith, D. W., 1915 The girl and her trust, Griffith, D. W., 1912 The girl who stayed at home, Griffith, D. W., 1919 Way down east, Griffith, D. W., 1920 What shall we do with our old?, Griffith, D. W., 1911 Those awful hats, Griffith, D. W., 1909 Enoch Arden, Griffith, D. W., 1911 The honor of his family, Griffith, D. W., 1910 The painted lady, Griffith, D. W., 1912 The lady and the mouse, Griffith, D. W., 1912 The musketeers of Pig Alley, Griffith, D. W., 1912 The unchanging sea, Griffith, D. W., 1910 True heart Susie, Griffith, D. W., 1919 The battle at Elderbush Gulch, Griffith, D. W., 1914 An unseen enemy, Griffith, D. W., 1912 The struggle, Griffith, D. W., 1931 The mothering heart, Griffith, D. -
National Film Registry Titles Listed by Release Date
National Film Registry Titles 1989-2017: Listed by Year of Release Year Year Title Released Inducted Newark Athlete 1891 2010 Blacksmith Scene 1893 1995 Dickson Experimental Sound Film 1894-1895 2003 Edison Kinetoscopic Record of a Sneeze 1894 2015 The Kiss 1896 1999 Rip Van Winkle 1896 1995 Corbett-Fitzsimmons Title Fight 1897 2012 Demolishing and Building Up the Star Theatre 1901 2002 President McKinley Inauguration Footage 1901 2000 The Great Train Robbery 1903 1990 Life of an American Fireman 1903 2016 Westinghouse Works 1904 1904 1998 Interior New York Subway, 14th Street to 42nd Street 1905 2017 Dream of a Rarebit Fiend 1906 2015 San Francisco Earthquake and Fire, April 18, 1906 1906 2005 A Trip Down Market Street 1906 2010 A Corner in Wheat 1909 1994 Lady Helen’s Escapade 1909 2004 Princess Nicotine; or, The Smoke Fairy 1909 2003 Jeffries-Johnson World’s Championship Boxing Contest 1910 2005 White Fawn’s Devotion 1910 2008 Little Nemo 1911 2009 The Cry of the Children 1912 2011 A Cure for Pokeritis 1912 2011 From the Manger to the Cross 1912 1998 The Land Beyond the Sunset 1912 2000 Musketeers of Pig Alley 1912 2016 Bert Williams Lime Kiln Club Field Day 1913 2014 The Evidence of the Film 1913 2001 Matrimony’s Speed Limit 1913 2003 Preservation of the Sign Language 1913 2010 Traffic in Souls 1913 2006 The Bargain 1914 2010 The Exploits of Elaine 1914 1994 Gertie The Dinosaur 1914 1991 In the Land of the Head Hunters 1914 1999 Mabel’s Blunder 1914 2009 1 National Film Registry Titles 1989-2017: Listed by Year of Release Year Year -
University of Lincoln Lincoln School of Film and Media MA by Research
University of Lincoln Lincoln School of Film and Media MA by Research Media and Cultural Studies Menacing Society: An exploration of the hood sub-genre Luke Compton 14536605 Word count: 24,767 October 2020 Contents Page List of Contents 1 List of Illustrations 2 Introduction 5 Chapter One: Contextualising African-American representation, racial conflict 11 and the hood sub-genre Chapter Two: “We ain’t nothing but hood rats”: Set It Off 28 Chapter Three: “You wanna make some money?”: Paid in Full 46 Conclusion 65 Reference List 70 Illustrations 78 Acknowledgments 120 1 List of Illustrations Page Fig. 1: Cleo in the police line-up 78 Fig. 2: Paid in Full’s ending 78 Fig. 3: The Godfather films 79 Fig. 4: Gravesite of a Bloods gang member 79 Fig. 5: Birth of a Nation kidnapping 80 Fig. 6: Sidney Poitier in No Way Out 80 Fig. 7: Sammy Davis Jr. in the Will Mastin Trio 81 Fig. 8: The Rat Pack 81 Fig. 9: The Rat Pack in Ocean’s 11 82 Fig. 10: The Mack poster 82 Fig. 11: Midnight Cowboy’s montages 83 Fig. 12: Showtime 83 Fig. 13: The Rodney King video 84 Fig. 14: L.A. riots destruction 84 Fig. 15: L.A. riots newspaper headline 85 Fig. 16: Fight the Power lyrics 85 Fig. 17: Juice police interrogation 86 Fig. 18: Queen Latifah as the competition host in Juice 86 Fig. 19: Little Caesar 87 Fig. 20: Cagney as a federal agent in G-Men 87 Fig. 21: Bishop watching White Heat 88 Fig. -
In the Genre Jungle
9781405156509_4_001.qxd 11/23/07 10:46 AM Page 1 Chapter 1 In the Genre Jungle In our current discourse on artistic practices, we commonly use generic distinctions to characterize a particular work: for example, when we say that Leonardo da Vinci’s “Mona Lisa” is a portrait, and that Vincent van Gogh’s “Sunflowers” is a “still life”; when we describe the novels dealing with the investigations of Georges Simenon’s Inspector Maigret, or of Agatha Christie’s Hercule Poirot, as “Whodunits,” and the romances in the Harlequin series as “format romances”; or when we call Shakespeare’s Macbeth a tragedy, and Molière’s The Miser a comedy. We thus invoke the idea of genres (pictorial, literary, theatrical, etc.) to identify, classify, and differentiate particular works. The same is true with cinema. At the beginning of the twenty-first century, a film viewer will readily use the terms “musical” to describe Singin’ in the Rain (Donen/Kelly, 1952), “comedy” to refer to There’s Something About Mary (Farrelly Brothers, 1998), or “vampire film” to char- acterize Nosferatu (Murnau, 1922). Similarly, critics often make use of generic categories in both popular and scholarly publica- tions – whether at the beginning of an article, or in the body of the text – to introduce a new film and situate it in the landscape of cinema. Like other cultural productions, films, both in our discourse and our consciousness, are arranged in a geography organized by genres. 1 9781405156509_4_001.qxd 11/23/07 10:46 AM Page 2 In the Genre Jungle Cinematic Genre: An Empirical Category As a way of approaching this topic, one can begin with the common use of the concept of genre – defined as an empirical category that serves to name, differentiate, and classify works on the basis of the recurring configurations of formal and thematic elements they share. -
Dw Griffith: American Film Master
he Museum of Modern Art 3/8/65 Vest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modemart PROGRAM D. W. GRIFFITH: AMERICAN FILM MASTER The films listed are all directed by Griffith, except where otherwise noted. PART. I \ April 25-28: 1907 RESCUE) FROM AN EAGSUB'S NEST, Edison, directed by Edwin S. Porter; with D. W. Griffith. 1909 THE LONELY VILLA, Biograph; with Mary Pickford, Marion Leonard. 1911 THE LONEDALE OPERATOR, Biograph; with Blanche Sweet, Wilfred Lucas• 1912 THE GIRL AND HER TRUST, Biograph; with Dorothy Bernard, Wilfred Lucas. 1913 OLAF - AN ATOM, Biograph; with Harry Carey (director unknown, but probably D. W. Griffith). Biograph films: April 29- 1909 A DRUNKARD'S REFORMATION, with Linda Arvidson, Arthur Johnson. May 1: 1909 A CORNER IN WHEAT, with Frank Powell, Henry Walthall. 1910 THE USURER, with Grace Henderson, George Nichols. 1911 THE MISER'S HEART, with Edward Dillon, Wilfred Lucas. 1912 THE MUSKETEERS OF PIG ALLEY, with Dorothy and Lillian Gish. May 2-5: 1912 MAN'S GENESIS, Biograph; with Mae Marsh, Robert Harron. 1913-lil- JUDITH OF BETHULIA, Biograph; with Blanche Sweet, Henry Walthall. May 6-8; 1911 ENOCH ARDEN, Biograph; with Linda Arvidson, Wilfred Lucas. 1911* HOME, SWEET HOME, Mutual; with Lillian Gish, Henry Walthall, Mae Marsh, Robert Harron, Blanche Sweet, Owen Moore. May 9-12: 1912 THE GODDESS OF SAGEBRUSH GULCH, Biograph; with Blanche Sweet, Dorothy Bernard, Charles West. 19114. THE AVENGING CONSCIENCE, Mutual; with Blanche Sweet, Henry Walthall, Spottiswoode Aiken. May I3-I5: 1915 THE BIRTH OF A NATION, Epoch; with Lillian Gish, Mae Marsh, Henry Walthall, Robert Harron, Elmer Clifton, Ralph Lewis. -
Introduction: the Case
C H A P T E R O N E Introduction: The Case From William Powell to Humphrey Bogart—or debonair to tough; from Bruce Willis to William Petersen—or wisecracking to wise: the celluloid de- tective has evolved over time, processing society’s fears about crime and artic- ulating debates about law enforcement and justice. The 1980s saw cinematic justice exacted by muscle and firepower; today it is pursued with science and brainpower—or what Agatha Christie’s sleuth Hercule Poirot called using “the little grey cells.” In the mid-1980s, William Petersen starred as detective Will Graham in Manhunter (Mann 1986), the first film adaptation of Thomas Harris’s novel Red Dragon (1981), which introduced the world to Dr. Hannibal “The Cannibal” Lector. The film was ahead of its time, bring- ing the criminalist and that which he hunts—the serial killer—to the big screen several years before the genre became pervasive in the mid-1990s. Today William Petersen produces and stars in one of the most popular tele- vision drama series in the world, airing in 100 countries: CSI: Crime Scene In- vestigation (Cole 3). Like Manhunter, CSI centers on the investigations of its detectives, including Gil Grissom (played by Petersen), who are criminal- ists—detectives who specialize in the analysis of physical evidence. The criminalist is a modern-day incarnation of the classical sleuth first envisioned by Edgar Allan Poe in the 1840s with C. Auguste Dupin, the hero of a handful of “tales of ratiocination,” and popularized by Sir Arthur 3 © 2006 State University of New York Press, Albany FIGURE 1.