It is worthy of being the master of the early film collection.
The male protagonist organizes the 3K party to save the female protagonist. It has to be said that it is exaggerated acting skills and a stereotypical hero saving beauty plot. Using parallel and intersecting montages, the 3k party rides to rescue and the two quarrel pictures are interlaced and advance together. It has to be said that the war scene does have trans-epoch significance, and the switching between the medium shot and the long shot can make people feel the embarrassment of time on the way to the 3K party. In the clips where blacks and whites are at odds, you can also feel the basic tonality of many "classic routines" and later blockbusters through various not-so-sophisticated details. Some fisheye lenses and close-ups are used to vividly portray the frightened little girl and the group portrait of the rescued white family. Finally, the majestic white man on horseback and the black man dodging around like a rat crossing the street. For the two cross-montages of the rescue of the cabin and the saviour of the heroine, it can be seen that Griffith's own tendency to create a confrontational relationship between the rescue scene and the radical racism can be seen.
Let's talk about the formation of film language. I have to say that it created the most classic and basic "parallel" and "intersection" in classical editing. Close-up shots, tracking shots, and the use of visors to create a "voyeuristic" feel to me a hundred years later. The last-minute rescue of the climax of the film I watched this time was not boring, but felt the charm of a silent film. The orchestral music is great! Introduced very well!
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