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Weitersagen:
 
Regie: 
D.W. Griffith
Darsteller:
Mary Pickford
Charles Hill Mailes
Kate Bruce
Lionel Barrymore
Alfred Paget
Claire McDowell
Mae Marsh
Clara T. Bracy
Madge Kirby
Lillian Gish
Jack Pickford
Robert harron
Gertrude Bambrick
Dw Griffith: Years Of Discovery 2 
(The New York Hat) 

(DVD - Code 1)
(US-Import)
 

Übersicht

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Lieferstatus: 
 i.d.R. innert 7-21 Tagen versandfertig
 VÖ : 
14.03.2017
EAN-Code: 
88929009207 
Jahr/Land: 
1912 ( USA )
Laufzeit: 
116 min.
Genre: 
Drama 
Sprachen: 
English 
Bewertung:  Titel bewerten / Meinung schreiben
Inhalt:
For the five years between 1908 and 1913, D.W. Griffith directed some 450 films for the Biograph Company, deIivering at a rate of two or three fiIms per week. These films, one and two reeIs in Iength, are sometimes regarded as apprentice works, films in which Griffith borrowed, invented, and perfected the forms and techniques that he Iater used to such memorabIe effects in The Birth of a Nation (1915), lntolerance (1916), Way Down East (1920), Orphans of the Storm (1921), and Isn?t Life WonderfuI? (1924). But the Biographs were more than that. The twenty-two fiIms presented in this collectors version of D.W. Griffith: Years Of Discovery: 1909-1913 are the centerpieces of that extraordinary group of films. VoIume Two includes such widely recognized masterworks as The BattIe at EIderbush GuIch and The New York Hat. But Iesser-known sociaI dramas Iike The House of Darkness. They rank among the best in a colIection of short fiIms that heIped shape cinematic narrative for two generations. PIots are simple and direct, and if the films are saturated with quasi-comic cliches and oId-fashioned insensitivities, they aIso reveaI an extraordinary dramatic talent of brilIiant force. lt is easy to see why the Griffith Biographs were so popular at the time. With an uncanny instinct for acting taIent, Griffith assembled the foremost film ensembIe of his day, including LiIIian and Dorothy Gish, Mary Pickford, Mack Sennett, LioneI Barrymore, Henry WaIthall, and Mae Marsh. Beyond that, the requirements of plot detail, the tight physicaI Iocale of interior sets (we never see more that three sides of any room), and the need to establish character immediately resulted in a kind of cinematic shorthand which gave these shorts terrific compression. The Iimitations of time and space aIso meant that peopIe, places, and objects frequently took on extraordinary metaphoric power they gradualIy lost as movies got longer.
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