The film initiated so many advances in American cinema that it was rendered obsolete within a few years. Griffith's 1915 epic The Birth of a Nation was ground-breaking for film as a means of storytelling – a masterpiece of literary narrative with numerous innovative visual techniques. Lillian Gish, the star of The Mothering Heart, is particularly noted for her influence on on-screen performance techniques. Equally influential were his actors in adapting their performances to the new medium. In the world generally and America specifically, the influence of Griffith on filmmaking was unmatched. It was also the year when Yevgeni Bauer (the first true film artist, according to Georges Sadoul ) started his short, but prolific, career. Griffith), Ingeborg Holm ( Victor Sjöström), and L'enfant de Paris ( Léonce Perret) that set new standards for the film as a form of storytelling. 1913 was a particularly fruitful year for the medium, as pioneering directors from several countries produced films such as The Mothering Heart (D. Films worldwide began to noticeably adopt visual and narrative elements which would be found in classical Hollywood cinema. Griffith finally breaking the grip of the Edison Trust to make films independent of the manufacturing monopoly. In Sweden and Denmark, this period would later be known as the "Golden Age" of the film in America, this artistic change is attributed to filmmakers like D. By the early 1910s, when the Lost Generation was coming of age, filmmaking was beginning to fulfill its artistic potential. Though lacking the reality inherent to the stage, film (unlike the stage) offers the freedom to manipulate apparent time and space, and thus create the illusion of realism – that is temporal linearity and spatial continuity. Editing technique was extremely limited, and mostly consisted of close-ups of writing on objects for their legibility. Before the visual style which would become known as "classical continuity", scenes were filmed in full shot and used carefully choreographed staging to portray plot and character relationships. Visually, early narrative films had adapted little from the stage, and their narratives had adapted very little from vaudeville and melodrama. The Marx Brothers ) or theatrical melodramas. Most of these filmmakers started as directors on the late 19th-century stage, and likewise most film actors had roots in vaudeville (e.g. Since the first narrative films in the mid-late 1890s, filmmakers have sought to capture the power of live theatre on the cinema screen. Theatrical release poster for Ben-Hur: A Tale of the Christ (1925)įor centuries, the only visual standard of narrative storytelling art was the theatre.
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