Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith ( 1875 - 1948 ). (46) Before Griffith, photography in dramatic films consisted of little more than placing the actors before a stationary camera and showing them in full length as they would have appeared on stage. From the beginning of his career as a director, however, Griffith, because of his love of Victorian painting, employed composition. He conceived of the camera image as having a foreground and a rear ground, as well as the middle distance preferred by most directors. By 1910 he was using close-ups to reveal significant details of the scene or of the acting and extreme long shots to achieve a sense of spectacle and distance. His appreciation of the camera’s possibilities produced novel dramatic effects. (47) By splitting an event into fragments and recording each from the most suitable camera position, he could significantly vary the emphasis f
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