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Abstract

The study explores the evolution of acting vis-à-vis narrative techniques during D.W. Griffith’s tenure as director-cum-supervisor at the Biograph studio from the 1908 through 1913. The authors explore the Biograph output from two complementary perspectives: as it comes down to us in extant paper prints, and as it emerged in the mirror of contemporary film lore. Who should be in control of narrative unfolding—film players of film editors? To figure this out, contemporary observers used metric data gathered while watching films—as do the study’s authors armed by state-of-the-art digital tool of film studies known as cinemetrics.

On the Reef (1910) Clip 1 - Tsivian_Khitrova.mp4 (77843 kB)
Clip 1. On the Reef (1909)

On the Reef (1910) Clip 2 - Tsivian_Khitrova.mp4 (9678 kB)
Clip 2. On the Reef (1909)

The Sealed Room (1909) Clip 3 - Tsivian_Khitrova.mp4 (16900 kB)
Clip 3. The Sealed Room (1909)

The Call to Arms (1910) Clip 4 - Tsivian_Khitrova.mp4 (8263 kB)
Clip 4. The Call to Arms (1910)

The Drunkard_s Reformation (1909) Clip 5 - Tsivian_Khitrova.mp4 (15353 kB)
Clip 5. The Drunkard's Reformation (1909

On the Reef (1910) Clip 6 - Tsivian_Khitrova.mp4 (8359 kB)
Clip 6. On the Reef (1909)

On the Reef (1910) Clip 7 - Tsivian_Khitrova.mp4 (88612 kB)
Clip 7. On the Reef (1909)

On the Reef (1910) Clip 8 - Tsivian_Khitrova.mp4 (9051 kB)
Clip 8. On the Reef (1909)

The Unchanging Sea (1910) Clip 9 - Tsivian_Khitrova.mp4 (64671 kB)
Clip 9. The Unchanging Sea (1910)

The Unchanging Sea (1910) Clip 10 - Tsivian_Khitrova.mp4 (87943 kB)
Clip 10. The Unchanging Sea (1910)

The Call to Arms (1910) Clip 11 - Tsivian_Khitrova.mp4 (41297 kB)
Clip 11. The Call to Arms (1910)

The Sealed Room (1909) Clip 12 - Tsivian_Khitrova.mp4 (457405 kB)
Clip 12. The Sealed Room (1909)

Wilful Peggy (1910) Clip 13 - Tsivian_Khitrova.mp4 (193578 kB)
Clip 13. Wilful Peggy (1910)

Khitrova Figure 1.png (536 kB)
Figure 1. The lord of the manor surprises a peasant girl asleep in the daytime.

Khitrova Figure 2.png (641 kB)
Figure 2. On the left, the lord commands Peggy to fetch a glass of water; she is resentful. On the right, he asks her nicely; she warms up.

Khitrova Figure 3.png (625 kB)
Figure 3. On the left, a facial aside: Henry B. Walthall as the lord turns his face toward the camera for us to see he is impressed by Peggy (offscreen). On the right, Mary Pickford does the same so we can see she looks at him with interest.

Khitrova Figure 4.png (620 kB)
Figure 4. On the left, Peggy purses her lips in annoyance as the lord exits the frame. On the right, she smiles at the thought he may come back.

Khitrova Figure 5.png (472 kB)
Figure 5. Facsimile copy of Griffith’s mock-up movie sequence as it appears in his article “Pace in the Movies.”

Khitrova Figure 6.png (17 kB)
Figure 6. Bar chart representing data in Table 2. Shot scales are color coded.

Khitrova Figure 7.png (42 kB)
Figure 7. Fast-to-slow diagram.

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