These organizations became the backbone of the Hollywood studio system, and the men who controlled them shared several important traits. They were all independent exhibitors and distributors who had outwitted the Trust and earned their success by manipulating finances in the postnickelodeon feature boom, merging production companies, organizing national distribution networks, and ultimately acquiring vast theatre chains. They saw their business as basically a retailing operation modeled on the practice of chain stores such as Woolworth’s and Sears. Not incidentally, these men were all first- or second-generation Jewish immigrants from eastern Europe, most of them with little formal education, while the audience they served was 90 percent Protestant and Catholic. This circumstance would become an issue during the 1920s, when the movies became a mass medium that was part of the life of every U.S. citizen and when Hollywood became the chief purveyor of American culture to the world. Pre-World War I European cinema
Before World War I, European cinema was dominated by France and Italy. At Pathé Frères, director general Ferdinand Zecca perfected the course comique, a uniquely Gallic version of the chase film, which inspired Mack Sennett’s Keystone Kops, while the immensely popular Max Linder created a comic persona that would deeply influence the work of Charlie Chaplin. The episodic crime film was pioneered by Victorin Jasset in the Nick Carter series, produced for the small Éclair Company, but it remained for Gaumont’s Louis Feuillade to bring the genre to aesthetic perfection in the extremely successful serials Fantômas (1913–14), Les Vampires (1915–16), and Judex (1916).
Another influential phenomenon initiated in prewar France was the film d’art movement. It began with L’Assassinat du duc de Guise (“The Assassination of the Duke of Guise,” 1908), directed by Charles Le Bargy and André Calmettes of the Comédie Française for the Société Film d’Art, which was formed for the express purpose of transferring prestigious stage plays starring famous performers to the screen. L’Assassinat’s success inspired other companies to make similar films, which came to be known as films d’art. These films were long on intellectual pedigree and short on narrative sophistication. The directors simply filmed theatrical productions in toto, without adaptation. Their brief popularity nevertheless created a context for the lengthy treatment of serious material in motion pictures and was directly instrumental in the rise of the feature.
No country, however, was more responsible for the popularity of the feature than Italy. The Italian cinema’s lavishly produced costume spectacles brought it international prominence in the years before the war. The prototypes of the genre, by virtue of their epic material and length, were the Cines company’s six-reel Gli ultimi giorni di Pompei (The Last Days of Pompei), directed by Luigi Maggi in 1908, and its 10-reel remake, directed by Ernesto Pasquali in 1913; but it was Cines’s nine-reel Quo Vadis? (“Whither Are You Going?” 1912), with its huge three-dimensional sets re-creating ancient Rome and its 5,000 extras, that established the standard for the superspectacle and briefly conquered the world market for Italian motion pictures. Its successor, the Italia company’s 12-reel Cabiria (1914), was even more extravagant in its historical reconstruction of the Second Punic War, from the burning of the Roman fleet at Syracuse to Hannibal crossing the Alps and the sack of Carthage. The Italian superspectacle stimulated public demand for features and influenced such important directors as Cecil B. DeMille, Ernst Lubitsch, and especially D.W. Griffith. D.W. Griffith
There has been a tendency in modern film scholarship to view the narrative form of motion pictures as a development of an overall production system. Although narrative film was and continues to be strongly influenced by a combination of economic, technological, and social factors, it also owes a great deal to the individual artists who viewed film as a medium of personal expression. Chief among these innovators was D.W. Griffith. It is true that Griffith’s self-cultivated reputation as a Romantic artist—“the father of film technique,” “the man who invented Hollywood,” “the Shakespeare of the screen,” and the like—is somewhat overblown. It is also true that by 1908 film narrative had already been systematically organized to accommodate the material conditions of production. Griffith’s work nevertheless transformed that system from its primitive to its classical mode. He was the first filmmaker to realize that the motion-picture medium, properly vested with technical vitality and seriousness of theme, could exercise enormous persuasive power over an audience, or even a nation, without recourse to print or human speech.
Griffith began his film career in late 1907 as an actor. He was cast as the lead in the Edison Company’s Rescued from an Eagle’s Nest (1907) and also appeared in many Biograph films. He had already attempted to make a living as a stage actor and a playwright without much success, and his real goal in approaching the film companies seems to have been to sell them scripts. In June 1908 Biograph gave him an opportunity to replace its ailing director, George (“Old Man”) McCutcheon, on the chase film The Adventures of Dollie. With the advice of the company’s two cameramen, G.W. (“Billy”) Bitzer (who would become Griffith’s personal cinematographer for much of his career) and Arthur Marvin (who actually shot the film), Griffith turned in a fresh and exciting film. His work earned him a full-time director’s contract with Biograph, for whom he directed more than 450 one- and two-reel films over the next five years.
In the Biograph films, Griffith experimented with all the narrative techniques he would later use in the epics The Birth of a Nation (1915) and Intolerance (1916)—techniques that helped to formulate and stabilize Hollywood’s classical narrative style. A few of these techniques were already in use when Griffith started; he simply refined them. Others were innovations Griffith devised to solve practical problems in the course of production. Still others resulted from his conscious analogy between film and literary narrative, chiefly Victorian novels and plays. In all cases, however, Griffith brought to the practice of filmmaking a seriousness of purpose and an intensity of vision that, combined with his intuitive mastery of film technique, made him the first great artist of the cinema.
Griffith’s first experiments were in the field of editing and involved varying the standard distance between the audience and the screen. In Greaser’s Gauntlet, made one month after Dollie, he first used a cut-in from a long shot to a full shot to heighten the emotional intensity of a scene. In an elaboration of this practice, he was soon taking shots from multiple camera setups—long shots, full shots, medium shots, close shots, and, ultimately, close-ups—and combining their separate perspectives into single dramatic scenes. By October 1908 Griffith was practicing parallel editing between the dual narratives of After Many Years, and the following year he extended the technique to the representation of three simultaneous actions in The Lonely Villa, cutting rapidly back and forth between a band of robbers breaking into a suburban villa, a woman and her children barricaded within, and the husband rushing from town to the rescue. This type of crosscutting, or intercutting, came to be known as the “Griffith last-minute rescue” and was employed as a basic structural principle in both The Birth of a Nation and Intolerance. It not only employed the rapid alternation of shots but also called for the shots themselves to be held for shorter and shorter durations as the parallel lines of action converged; in its ability to create the illusion of simultaneous actions, the intercut chase sequence prefigured Soviet theories of montage by at least a decade, and it remains a basic component of narrative film form to this day.