Before I come to the main analysis of "A Corner In Wheat" (1909) by D.W. Griffith
concerning Parallel and Continuity Editing, I would like to point out one special process
of the development of filmmaking, which occurred in the first years since 1895.
There by the most interesting part related to the topic of this paper is the development since
the middle of the year 1907. At that time "the production companies began to observe a
strict linear time frame ". (Musser, Archeology of the cinema, 1983, page 7)
The process took part in mainly two phases.
"First, there was an elimination of retrogressive elements like overlapping action [...] [, for
instance] there is rapid cutting between proximate spaces and [...] a strong suggestion of a
seamless linear temporality across shot." (Musser, p.7) Of course this means not yet an
establishment of a hole strategies like a match cut on action - at that time there are still used
intertitles for example - but it is a kind of development, which made the viewers aware of
new possibilities of making films. Especially concerning the movement of time.
"[They (the viewers) ] no longer had to wonder if action shown in a given scene occurred
before or after a previously shown action" (Musser, p.7).
The second phase created "new representational strategies based on this new form of
temporality" (Musser, p.7). In the late 1907 the usage of parallel editing first appeared and
got established concerning the linear temporality. Musser mentions the film "The Runaway
Horse" from Pathé, which "explicitly acknowledged a linear temporality through its use of
parallel editing." Parallel Editing means "cutting back and forth between two lines of
actions" (Musser, p.7). [...]
Table of Contents
1. Introduction
2. Forward movement of time and Parallel Editing in "A Corner In Wheat" (1909)
Objectives and Themes
This paper aims to analyze D.W. Griffith's 1909 film "A Corner In Wheat" by focusing on the development and implementation of parallel and continuity editing. It examines how Griffith constructs a logical, linear narrative across multiple subplots and evaluates the effectiveness of these early cinematic techniques in representing simultaneous events and advancing film theory.
- Evolution of linear temporality in early filmmaking.
- Technical analysis of parallel editing and cross-cutting.
- Juxtaposition of disparate social classes through montage.
- Application of contiguous editing and match-on-action techniques.
- The role of intertitles in directing audience comprehension.
Excerpt from the Book
Forward movement of time and Parallel Editing in "A Corner In Wheat" (1909)
As I showed in the introduction, Griffith was one of the first directors, who used the phenomenon parallel editing. The film "A Corner In Wheat", which was made in the late 1909 by D.W. Griffith, is a very good example, to analyze and explain the inevitable forward movement of time and finally the parallel editing. At that time these both methods were already established and accepted by the viewers. Musser speaks in his essay about two phases of development. First the focus on the movement of time and than parallel editing began to be developed. In the following lines I will go through the whole film by analyzing shot to shot concerning the development of time and later parallel editing. The film is composed of three different subplots, which are juxtaposed together and stand all in a certain relation to each other concerning temporal development and parallelism.
Summary of Chapters
1. Introduction: This chapter provides an overview of the development of linear temporality in film since 1895 and defines the foundational editing strategies used by early production companies.
2. Forward movement of time and Parallel Editing in "A Corner In Wheat" (1909): This section offers a shot-by-shot analysis of Griffith’s film, exploring how parallel editing and montage are used to weave together the stories of the farmers, the Wheat King, and the bakery workers.
Keywords
Parallel editing, D.W. Griffith, A Corner In Wheat, linear temporality, continuity editing, montage aesthetics, cross-cutting, filmmaking, narrative structure, film theory, cinematic history, subplots.
Frequently Asked Questions
What is the core subject of this academic paper?
The paper explores the stylistic and narrative development of early cinema, specifically focusing on how D.W. Griffith utilized parallel editing and continuity techniques in the 1909 film "A Corner In Wheat."
What are the primary thematic areas explored?
Key themes include the evolution of temporal representation in film, the contrast between "filmic" and "pro-filmic" strategies, and the social commentary achieved through the juxtaposition of rich and poor characters.
What is the central objective or research question?
The primary goal is to analyze how Griffith successfully transitioned from basic chronological storytelling to a more complex, parallel narrative structure that maintains a rigorous sense of linear time.
Which scientific or analytical method is employed?
The author uses a systematic, shot-by-shot film analysis, drawing on theoretical frameworks provided by Charles Musser to interpret specific editing choices within the film's 21 shots.
What content is covered in the main body of the analysis?
The main body breaks down the film into its constituent subplots, analyzes the function of intertitles, and discusses the technical execution of parallel editing as it relates to the film's climax.
Which keywords characterize this work?
Essential keywords include parallel editing, linear temporality, continuity editing, montage aesthetics, cross-cutting, and narrative structure.
How does the film's circular structure impact the viewer's understanding?
The author argues that the beginning and end shots on the farm create a cyclical narrative that frames the rest of the story, highlighting the struggle for survival regardless of the economic status of the subjects.
What does the author conclude about the parallel editing of the two deaths in the film?
The paper concludes that by editing the death of the "Wheat King" and the shooting of a worker in parallel, Griffith emphasizes that despite vast economic differences, both men share a common human fate: mortality.
- Quote paper
- Oliver Schill (Author), 2003, D.W. Griffith, Analysis Of Parallel Editing, Munich, GRIN Verlag, https://www.grin.com/document/20708
