Search results
Sep 1, 2024 · If Andy Griffith movies are your thing, then check out the greatest movies by Don Knotts and Fred Gwynne too. 1. A Face in the Crowd. Andy Griffith, Patricia Neal, Anthony Franciosa. 128 votes.
- A Face in The Crowd
We would like to show you a description here but the site...
- A Face in The Crowd
Find where to watch Andy Griffith's latest movies and tv shows. ... The Ultimate Guide to What to Watch on Netflix, Hulu, Prime Video, Max, and More in September 2024.
- Overview
- D.W. Griffith
There has been a tendency in modern film scholarship to view the narrative form of motion pictures as a development of an overall production system. Although narrative film was and continues to be strongly influenced by a combination of economic, technological, and social factors, it also owes a great deal to the individual artists who viewed film as a medium of personal expression. Chief among these innovators was D.W. Griffith. It is true that Griffith’s self-cultivated reputation as a Romantic artist—“the father of film technique,” “the man who invented Hollywood,” “the Shakespeare of the screen,” and the like—is somewhat overblown. It is also true that by 1908 film narrative had already been systematically organized to accommodate the material conditions of production. Griffith’s work nevertheless transformed that system from its primitive to its classical mode. He was the first filmmaker to realize that the motion-picture medium, properly vested with technical vitality and seriousness of theme, could exercise enormous persuasive power over an audience, or even a nation, without recourse to print or human speech.
Griffith began his film career in late 1907 as an actor. He was cast as the lead in the Edison Company’s Rescued from an Eagle’s Nest (1907) and also appeared in many Biograph films. He had already attempted to make a living as a stage actor and a playwright without much success, and his real goal in approaching the film companies seems to have been to sell them scripts. In June 1908 Biograph gave him an opportunity to replace its ailing director, George (“Old Man”) McCutcheon, on the chase film The Adventures of Dollie. With the advice of the company’s two cameramen, Billy Bitzer (who would become Griffith’s personal cinematographer for much of his career) and Arthur Marvin (who actually shot the film), Griffith turned in a fresh and exciting film. His work earned him a full-time director’s contract with Biograph, for whom he directed more than 450 one- and two-reel films over the next five years.
In the Biograph films, Griffith experimented with all the narrative techniques he would later use in the epics The Birth of a Nation (1915) and Intolerance (1916)—techniques that helped to formulate and stabilize Hollywood’s classical narrative style. A few of these techniques were already in use when Griffith started; he simply refined them. Others were innovations Griffith devised to solve practical problems in the course of production. Still others resulted from his conscious analogy between film and literary narrative, chiefly Victorian novels and plays. In all cases, however, Griffith brought to the practice of filmmaking a seriousness of purpose and an intensity of vision that, combined with his intuitive mastery of film technique, made him the first great artist of the cinema.
Griffith’s first experiments were in the field of editing and involved varying the standard distance between the audience and the screen. In Greaser’s Gauntlet, made one month after Dollie, he first used a cut-in from a long shot to a full shot to heighten the emotional intensity of a scene. In an elaboration of this practice, he was soon taking shots from multiple camera setups—long shots, full shots, medium shots, close shots, and, ultimately, close-ups—and combining their separate perspectives into single dramatic scenes. By October 1908 Griffith was practicing parallel editing between the dual narratives of After Many Years, and the following year he extended the technique to the representation of three simultaneous actions in The Lonely Villa, cutting rapidly back and forth between a band of robbers breaking into a suburban villa, a woman and her children barricaded within, and the husband rushing from town to the rescue. This type of crosscutting, or intercutting, came to be known as the “Griffith last-minute rescue” and was employed as a basic structural principle in both The Birth of a Nation and Intolerance. It not only employed the rapid alternation of shots but also called for the shots themselves to be held for shorter and shorter durations as the parallel lines of action converged; in its ability to create the illusion of simultaneous actions, the intercut chase sequence prefigured Soviet theories of montage by at least a decade, and it remains a basic component of narrative film form to this day.
Another area of experiment for Griffith involved camera movement and placement, most of which had been purely functional before him. When Biograph started sending his production unit to southern California in 1910, Griffith began to practice panoramic panning shots not only to provide visual information but also to engage his audience in the total environment of his films. Later he would prominently employ the tracking, or traveling, shot, in which the camera—and therefore the audience—participates in the dramatic action by moving with it. In California, Griffith discovered that camera angle could be used to comment upon the content of a shot or to heighten its dramatic emphasis in a way that the conventionally mandated head-on medium shot could not; and, at a time when convention dictated the flat and uniform illumination of every element in a scene, he pioneered the use of expressive lighting to create mood and atmosphere. Like so many of the other devices he brought into general use, these had all been employed by earlier directors, but Griffith was the first to practice them with the care of an artist and to rationalize them within the overall structure of his films.
Griffith’s one-reelers grew increasingly complex between 1911 and 1912, and he began to realize that only a longer and more expansive format could contain his vision. At first he made such two-reel films as Enoch Arden (1911), Man’s Genesis (1912), The Massacre (1912), and The Mothering Heart (1913), but these went virtually unnoticed by a public enthralled with such recent features from Europe as Queen Elizabeth and Quo Vadis? Finally Griffith determined to make an epic himself, based on the story of Judith and Holofernes from the Apocrypha. The result was the four-reel Judith of Bethulia (1913), filmed secretly on a 12-square-mile (31-square-km) set in Chatsworth Park, California. In addition to its structurally complicated narrative, Judith contained massive sets and battle scenes unlike anything yet attempted in American film. It cost twice the amount Biograph had allocated for its budget. Company officials, stunned at Griffith’s audacity and extravagance, tried to relieve the director of his creative responsibilities by promoting him to studio production chief. Griffith quit instead, publishing a full-page advertisement in The New York Dramatic Mirror (December 3, 1913), in which he took credit for all the Biograph films he had made from The Adventures of Dollie through Judith, as well as for the narrative innovations they contained. He then accepted an offer from Harry E. Aitken, the president of the recently formed Mutual Film Corporation, to head the feature production company Reliance-Majestic; he took Bitzer and most of his Biograph stock company with him.
There has been a tendency in modern film scholarship to view the narrative form of motion pictures as a development of an overall production system. Although narrative film was and continues to be strongly influenced by a combination of economic, technological, and social factors, it also owes a great deal to the individual artists who viewed film as a medium of personal expression. Chief among these innovators was D.W. Griffith. It is true that Griffith’s self-cultivated reputation as a Romantic artist—“the father of film technique,” “the man who invented Hollywood,” “the Shakespeare of the screen,” and the like—is somewhat overblown. It is also true that by 1908 film narrative had already been systematically organized to accommodate the material conditions of production. Griffith’s work nevertheless transformed that system from its primitive to its classical mode. He was the first filmmaker to realize that the motion-picture medium, properly vested with technical vitality and seriousness of theme, could exercise enormous persuasive power over an audience, or even a nation, without recourse to print or human speech.
Griffith began his film career in late 1907 as an actor. He was cast as the lead in the Edison Company’s Rescued from an Eagle’s Nest (1907) and also appeared in many Biograph films. He had already attempted to make a living as a stage actor and a playwright without much success, and his real goal in approaching the film companies seems to have been to sell them scripts. In June 1908 Biograph gave him an opportunity to replace its ailing director, George (“Old Man”) McCutcheon, on the chase film The Adventures of Dollie. With the advice of the company’s two cameramen, Billy Bitzer (who would become Griffith’s personal cinematographer for much of his career) and Arthur Marvin (who actually shot the film), Griffith turned in a fresh and exciting film. His work earned him a full-time director’s contract with Biograph, for whom he directed more than 450 one- and two-reel films over the next five years.
In the Biograph films, Griffith experimented with all the narrative techniques he would later use in the epics The Birth of a Nation (1915) and Intolerance (1916)—techniques that helped to formulate and stabilize Hollywood’s classical narrative style. A few of these techniques were already in use when Griffith started; he simply refined them. Others were innovations Griffith devised to solve practical problems in the course of production. Still others resulted from his conscious analogy between film and literary narrative, chiefly Victorian novels and plays. In all cases, however, Griffith brought to the practice of filmmaking a seriousness of purpose and an intensity of vision that, combined with his intuitive mastery of film technique, made him the first great artist of the cinema.
Griffith’s first experiments were in the field of editing and involved varying the standard distance between the audience and the screen. In Greaser’s Gauntlet, made one month after Dollie, he first used a cut-in from a long shot to a full shot to heighten the emotional intensity of a scene. In an elaboration of this practice, he was soon taking shots from multiple camera setups—long shots, full shots, medium shots, close shots, and, ultimately, close-ups—and combining their separate perspectives into single dramatic scenes. By October 1908 Griffith was practicing parallel editing between the dual narratives of After Many Years, and the following year he extended the technique to the representation of three simultaneous actions in The Lonely Villa, cutting rapidly back and forth between a band of robbers breaking into a suburban villa, a woman and her children barricaded within, and the husband rushing from town to the rescue. This type of crosscutting, or intercutting, came to be known as the “Griffith last-minute rescue” and was employed as a basic structural principle in both The Birth of a Nation and Intolerance. It not only employed the rapid alternation of shots but also called for the shots themselves to be held for shorter and shorter durations as the parallel lines of action converged; in its ability to create the illusion of simultaneous actions, the intercut chase sequence prefigured Soviet theories of montage by at least a decade, and it remains a basic component of narrative film form to this day.
Another area of experiment for Griffith involved camera movement and placement, most of which had been purely functional before him. When Biograph started sending his production unit to southern California in 1910, Griffith began to practice panoramic panning shots not only to provide visual information but also to engage his audience in the total environment of his films. Later he would prominently employ the tracking, or traveling, shot, in which the camera—and therefore the audience—participates in the dramatic action by moving with it. In California, Griffith discovered that camera angle could be used to comment upon the content of a shot or to heighten its dramatic emphasis in a way that the conventionally mandated head-on medium shot could not; and, at a time when convention dictated the flat and uniform illumination of every element in a scene, he pioneered the use of expressive lighting to create mood and atmosphere. Like so many of the other devices he brought into general use, these had all been employed by earlier directors, but Griffith was the first to practice them with the care of an artist and to rationalize them within the overall structure of his films.
Griffith’s one-reelers grew increasingly complex between 1911 and 1912, and he began to realize that only a longer and more expansive format could contain his vision. At first he made such two-reel films as Enoch Arden (1911), Man’s Genesis (1912), The Massacre (1912), and The Mothering Heart (1913), but these went virtually unnoticed by a public enthralled with such recent features from Europe as Queen Elizabeth and Quo Vadis? Finally Griffith determined to make an epic himself, based on the story of Judith and Holofernes from the Apocrypha. The result was the four-reel Judith of Bethulia (1913), filmed secretly on a 12-square-mile (31-square-km) set in Chatsworth Park, California. In addition to its structurally complicated narrative, Judith contained massive sets and battle scenes unlike anything yet attempted in American film. It cost twice the amount Biograph had allocated for its budget. Company officials, stunned at Griffith’s audacity and extravagance, tried to relieve the director of his creative responsibilities by promoting him to studio production chief. Griffith quit instead, publishing a full-page advertisement in The New York Dramatic Mirror (December 3, 1913), in which he took credit for all the Biograph films he had made from The Adventures of Dollie through Judith, as well as for the narrative innovations they contained. He then accepted an offer from Harry E. Aitken, the president of the recently formed Mutual Film Corporation, to head the feature production company Reliance-Majestic; he took Bitzer and most of his Biograph stock company with him.
See Rachel Griffiths full list of movies and tv shows from their career. Find where to watch Rachel Griffiths's latest movies and tv shows ... The Ultimate Guide to What to Watch on Netflix, Hulu ...
Budget. $15 million [2] Box office. $4.9 million [1] Breathe is a 2017 biographical drama film directed by Andy Serkis in his directorial debut, from a screenplay by William Nicholson. It is based on the true story of Robin Cavendish, who became paralysed from the neck down by polio at the age of 28. The film stars Andrew Garfield, Claire Foy ...
Jul 3, 2012 · Andy Samuel Griffith (June 1, 1926 – July 3, 2012) was an American actor, comedian, television producer, southern gospel singer, and writer. Known for his Southern drawl, his characters with a folksy-friendly personality, and his gruff but friendly voice, Griffith was a Tony Award nominee for two roles, and gained prominence in the starring role in director Elia Kazan's film A Face in the ...
People also ask
Who is Rachel Griffiths?
How did Griffith contribute to filmmaking?
Is Griffith a drifter or a political power player?
What techniques did Griffith use in the Biograph films?
Call Me Crazy: A Five Film. Dark Tourist. Automata. Day Out of Days. The Disaster Artist. J.L. Family Ranch. The Pirates of Somalia. Texas Blood. Daddy I Don't Like It like This.
