D. W. GRIFFITH: NEW DISCOVERIES
THE third major figure in the rise of the American film, David Wark Griffith, did not want to make motion pictures. No contradiction proved more ironic for, in the entire history of the American screen, no other director achieved greater success, none won more esteem. This "enigmatic and somewhat tragic" figure, as Gilbert Seldes describes him, secretly cherished the ambition to become famous as an author and counted the moments until he should have sufficient money to quit the "flickers" and write. Ashamed of "selling his soul," he changed his name on entering the movies, only later to retrieve it and make it as familiar as the term "movie" itself.
Griffith further developed the art of Melies and Porter, contributing devices of his own that made for greater unity, clarity, and effectiveness. Sensing from the beginning, the need for a body of technique to catch and control the emotions of the spectator, he did more to realize a method and a viewpoint than any other man of his day. Although he was himself a former actor and playwright, he repudiated theatrical conventions and evolved a method of expression peculiar to the screen.
Griffith came to films at that propitious moment when they were in the plastic beginnings of artistic development. To them he brought new elements of form and a variety of resources, and added at least two great productions to American motion picture achievement. The most revered and influential movie creator of his day, and perhaps of all motion picture history, he justified the new medium to the world. His productions became models for directors wherever films were made, and to this day stand not only as im-