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"Homeless Images: D. W. Griffith in the Eye of Soviet Filmmakers,"

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TheSoviet filmmakers' reverence for Griffith is well-documented. His cross-cutting, while serving a classical Hollywood style of invisible storytelling within the U.S., helped to inspired the formalist style known as Soviet montage, or collision editing. Tsivian is interested in less known borrowings and focuses on small elements such as single gestures, use of plates, etc., demonstrated through the comparison of shots from Griffith's films and those of Soviet filmmakers such as Eisenstein and Vertov. He focuses primarily on the Soviet borrowing of Griffithanian cross-cutting techniques, lens diffusion, titling, and acting style.

Most interesting is Yuri's discussion of intertitles. Although he does not reference Birth of a Nation anywhere in his article, many of his observations concerning Griffith's style of intertitles would apply to Birth of a Nation. This would be pretty easy to slot in as a scholarly voice-over in almost any clip. He may also be able to comment on cross-cutting.

ELS