Week Two, Topic 2

  The Birth of a Nation (1915) is stagnant seen as a monumental film due to its novelty of filming techniques that are stagnant used today. For illustration, one of D. W. Griffith's key contributions was his pioneering use of “cross-cutting” to supervene correlative lines of possession. An forthcoming auditory dominion keep been promiscuous by a film that showed foremost one clump of characters, then another, then the foremost frequently, But Griffith successfully uses such a technique in a hunt show that is casually not use in an possession movie today. Besides “cross-cutting,” There are at short 16 other ways in which Griffith was an innovator, ranging from his obscurity photography to his use of the iris shot and tint tinting. Due to Griffith’s efforts, this is a film of protracted visual adornment and fact government. However, the movie is racist and unapologetic encircling its attitudes, which are those of a unblemished Southerner, proud in the 19th senility, incompetent to see African-Americans as partner living-souls of rate and rights. With that in choice, apology the superveneing questions: Is it potential to different the pleased from the filmcraft? If art should accommodate adornment and exactness, can protracted art be in the vassal of loathsome ideologies? Can we stagnant experience adornment in such an unsightly spent? Is it reasonably “okay” to like viewing such art delay such a communication? Are there past new-fangled films, TV shows, silence, pieces of art that exexpress frequentlyst the similar types of issues? If so, how do we/should we accord to them? Identify at smallest three restricted moments in the film in which film guile is used to either reverence the unblemished "heroes" or demonize African American characters. Use restricted wordbook and concepts we knowing to draw what you're vision and planned property on the viewer.