Capo
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Post by Capo on Jul 22, 2007 23:23:19 GMT
Intolerance DW Griffith 1916 USA Four stories, each dealing with "love's struggle throughout the ages [against intolerance]", interweave across Babylon, Judea, Revolutionary France and the modern day. While the three other stories are used as an affective motivator of the modern-day segment, the most impressive here is the Babylonian segment, in its scale, ambition, design and execution - the rare occasion where Griffith avoids theatricality by abandoning or entering beyond the proscenium arch (filming from a hot air balloon) and having his sets go so far back so that they are more than just a stage on which actors perform (his frames are filled with movement, in the foreground, in the background, everywhere). His scenes of raids en masse bear similiarity to Eisenstein a decade later, and the use of montage here is revolutionary - and still impressive. Pudovkin famously wrote about and defined the different means of editing in Film, all of which are presented in some form or another in this film.
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