Griffith started his directing career in 1908, and in the following five years made some 485 films, almost all of which have been preserved. These films, one or two reels in length, have customarily been regarded as apprentice works, films in which, to quote Stephen Zito, "Griffith borrowed, invented, and perfected the forms and techniques that he later used to such memorable effect in The Birth of a Nation, Intolerance, Broken Blossoms, and Way Down East." These early "Biographs" (named after the studio at which Griffith worked) have usually been studied for their stylistic features, notably parallel editing, camera placement, and treatment of light and shadow. Their most famous structuring devices are the last-minute rescue and the cross-cut.
In recent years, however, the Biographs have assumed higher status in film history. Many historians and critics rank the...
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...oes Griffith create the impression of narrative immobility?
By and large, Griffith's films of the mid- and late 1920s have not fared well critically, although they have their defenders. The customary view—that Griffith's work became dull and undistinguished when he lost his personal studio at Mamaroneck in 1924—continues to prevail, despite calls from John Dorr, Arthur Lennig, and Richard Roud for re-evaluation. The eight films he made as a contract director for Paramount and United Artists are usually studied (if at all) as examples of late 1920s studio style. What critics find startling about them—particularly the United Artists features—is not the lack of quality, but the absence of any identifiable Griffith traits. Only Abraham Lincoln and The Struggle (Griffith's two sound films) are recognizable as his work, and they are usually treated as early 1930s oddities.
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