With reference to Bordwell/Staiger/Thompson’s model of classical narrative cinema, examine whether D.W. Griffith’s short films (1910s) might be seen to fit the model in the areas of story construction; narration; character development; staging; performance. In this essay I wish to examine whether the short films of D.W Griffith fit into the model of Classical Narrative Cinema presented by David Bordwell, Janet Staiger and Kirstin Thompson. They examined how CNC developed through changes in acting, the constructing of a storyline, development of characters and staging to create a narrative based cinema. These changes were motivated by audience’s expectations of film. Therefore, filmmakers had to make changes in order to create a narrative
This feature was able convey the message to the audience very effectively for example; the scene in which the officer is pointing towards the camera “You will not laugh, you will not cry” is sending a message of control and dominance. The director was able to position the shot from a below the eye-level shot, in which the camera is placed below, from the trainees perspective. This shot was an important element for control, dominance, and shows the Sargent being very superior. Secondly, the editing of this film was very progressive, and starts to build up towards the end. In addition, the framing of most of the shots was mostly track in and track out, primarily to focus on the subject.
The film focuses on the characters lives and how they can keep going when they struggle with society. The film uses rhetorical strategies such as pathos, ethos, and logos to make this movie bring emotions, blank stares, and leave the audience to question reality. The purpose of the specific camera shots and angles is to provide an appropriate view of the movie. Lastly, the use of persuasion to allow the audience to interpret what the film says versus the thoughts in their head. The film does a good job of pointing out the flaws in our system and a specific culture that the flaws
While using deep focus photography, a cinematographer may have to rely on framing, lighting, or composition to guide an audience in a way that typically would be done by focusing on objects or characters in the foreground of a shot. Many of these techniques are found in the scene which shows young Charles playing in the snow while his mother completes the transaction to have him taken from his home. Throughout the scene, Charles can still clearly be seen through the brightly-lit window, even while the adults are talking in the foreground of the shot. The ability to see Charles at all times emphasizes that although he is not directly involved in the conversation, he is still the topic of interest. This deep-focus aids in the mise-en-scéne of this scene by allowing the cinematographer to strategically include Charles as a focus of the scene without directly involving him in the dialogue.
Topical were films that recreated historical or newsworthy events. The 1920’s introduced Robert Flaherty who is considered “the father of documentary cinema”. Soviet documentary’s also arose out of this time, showing that cinema could portray a political agenda. The World War II era brought about the politics and propaganda of documentary film which was heavily used in Nazi Germany and then used by the axis powers during the war. Documentary films can use different forms of organization to explain or tell a story: cumulative organizing includes a catalog of image and sounds that don’t necessarily make sense, contrastive organizing includes a series of differing viewpoints on the subject, and developmental organizing follows a change of progression throughout a film.
While not the first filmmaker to use it, D.W. Griffith helped pioneer the editing technique of crosscutting or parallel editing, alternating among multiple strands of the simultaneous story action. The concept of editing as montage is closely associated with Soviet filmmaker Sergei Eisenstein. While montages simply the French word for edit,the term has come to designate a theory of editing which emphasizes the breaks and contrasts between images joined by a cut.  The coming of sound technology in the late 1920s served to solidify Hollywood’s commitment to continuity editing, an approach which emphasizes spatial and temporal clarity in order to present a story to an audience in a logical and coherent manner. In the 1940s, cinematic realism became established as one of the primary aesthetic principles in film editing influenced in part by Italian neo-realism and documentary filmmaking
They effectively presented this idea through the use of various film techniques such as lighting, music/sound, and camera angles/shot selection. The film adaptation is both effective in its delivery of the message but also in its maintaining of the original essence of the
There are undeniable traits that films can hold that cannot plainly be seen within the text. Things like location setting where, in film, the viewer is able to have a wider picture of the environment, community, and a larger setting allows for more physical movement than say what would be possible on a stage. Also, film language can also be a big addition when understanding the good elements of film to theater. For example, where the camera is placed, picking up different angles—possible view points from multiple characters enables a more round story. While actors and costumes add other elements in both cases, the budgets for both projects are often vastly different.
This allows filmmakers to showcase several overlapping actions. The physical environment where the shooting is done also becomes very critical. The use of deep focus has provided a lot of insights into stage trainings that have enabled actors to become firmly placed in every scene. There is a perfect combination of acting techniques and cinematography. Apart from the deep focus
Books and movies are great pastimes, and many people enjoy them because they tell stories in their own unique way. But books have been proven to exercise brains, letting the reader dictate the story, while movies on the other hand,put the viewer into passive thinking, and let the director dictate the story. Take Homer’s The Odyssey, for example. It’s a perfect example of how a story delivered by a book is more effective than it’s movie counterpart. The usage of techniques in the book convey a whole new story experience for readers, something that a movie can’t do.