David Bordwell sees cinematic history as a "Basic Story" and that within this approximation, D.W. Griffith is attributed with having invented "cinematic syntax". This syntax is apparent in what Raymond Spottiswoode referred to as the "grammar of film", or shot structure and perhaps in what is expanded later into semiotics and the "grande syntagmatique". While crediting Edwin S. Porter with the use of crosscutting two simultaneous actions, Bordwell notes the crosscutting of four historical periods (seperate storylines, which thematically merge) in Griffith's film Intolerance, filmed thirteen years later.
Susan Jean Craig, The City University of New York, in her dissertation "Skin and Redemption-Theology in Slent Films 1902 to 1927 describes the editing of motifs as film technique, "Filmmakers learned that they could use simple shorthand of now widely recognized filmic devices to amplify characterization and backstory: creating metaphoric links between seemingly unrelated storylines by shifting the action betwen them, called intercutting, underscoring human behavior and emotion through high-contrast lighting of scenes and subjects; and stressing subtle psychological shifts in motivation simply by moving the camera closer to the actor's faces. Thus, when D.W. Griffith wanted to introduce a prostitute in his 1916 epic "Intolerance, Love's Struggle through the Ages (Triangle Film Corp.) he didn't need to showa young woman trading sexual favors for payment. Instead he cut from a simple two second shot of a woman dressed too elaborately for her station in life to an intertitle that dubbed her "The Friendless One" to make his point crystal clear. Scholar Phillipe Gauthier sees crosscutting as a programmed languague and dismisses the need to view D.W. Griffith as its inventor, but rather as his "method of film construction", which having previous existed, he "developed and systemized", specifically that editing used in chase scenes and last minute rescue scenes to meet the exingencies of his narrative technique. While properly evaluating the work of D.W. Griffith and the canonical structuring of editing through a "suspensefull call for help, the proximity of the threat and the last minute rescue", Phillipe Gauthier finds early examples of the origins of film technique neglected by earlier prominent film historians. The director of the 1908 Pathe film "A Narrow Escape", if nothing else, certainly does quite often cut on the action of the character leaving the frame.
Author Stanley J. Solomon, in The Narrative Structure of the Film, from his volume The Film Idea eescribes the use of simultaneuous threads of action to climax thematically, "The last two reels (of the total thriteen in extant circulating versions) are among the most exciting sequences in all cinema. As the four stories head toward their conclusions, Griffith begins to cut back and forth much more quickly than he did earlier- mainly without the interference of the image of the rocking cradle...delaying the outcome of each story and building up a tremendous amountof suspense." Solomon looks to Iris Barry often. Iris Barry herself, author of D.W. Griffith, American film master, notes "Intolerance" directed by D. W. Griffith as being seminal. "The film Intolerance is of extreme importance to the history of the cienema." She singles out shots that use only part of the screen's area, tracking shots and rapid crosscutting as techniques used by Griffith in extraordinary combinations with his camera angles.
Peter Cowie, in his volume Eighty Years of Cinema implies that the storyline to "Intolerance" was entirely improvization on the part of D.W. Griffith; not only is there no credit for the photodramatist that wrote the photoplay, but there was originally no scenario to the film. Peter Cowie adds, "Like all Griffith's work, 'Intolerance' has a didactic ring that makes the captions seem pompous. But it lives up to the director's dictum 'Art is always revolutionary, always explosive and sensational."
Stanley J. Solomon in turn finds a thematic continuity in the film, "The four stories demonstrate the cause and effect relationship between individual acts and broadly calamitous events....That concept held in that the peculiarly suggestive medium of film, visual information should consist of fragments which, when carefully chosen and sensitively edited, would produce the idea of a completed action."
Both Lillian Gish and Paul Rotha write of Griffith having found lines in a poem by Walt Whitman that were to connect the stories thematically, Gish appearing at intervals throughout the film to contrast the dramatic quickening of the pace of the film and lending it a symbolism, "Intolerance was, and still is, the greatest spectacular film." Motion Picture World during 1916 popularized the film as bringing Griffith to a pantheon by subtitling its review with, "Griffith Surpasses Himself by a Spectacular Masterpiece in Which All Traditions of Dramatic Form are Successfully Revolutionized." Paragraph subtitles were to include, "Original Method of Construction", "Human Interest in Abundance" and "Marvelous Spectacular Effects".
In her book entitled Screen Acting, Mae Marsh explains the differences between the acting required for each camera distance. She begins with telling us that during a long shot facial expressions register indifferently and need to be compensated by body movement. She allows that most dramatic action is filmed in three quarters legnth, from the face to the knees, intermediate shots that require both facial expressions and body movement.
It is thought that the later films of D. W. Griffith, including "The White Rose" (1923) with Mae Marsh, more elaborately presented theme as being intertwined with the drama in which the characters were situated. D. W. Griffith
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