Word: griffith
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...term "classical" is tossed around a lot ("classical" is what you say when you know someone is a great film-maker but can't explain why except in literary terms--Hawks being the prime example of a victim of creeping "classicism"). Strictly speaking there are two classical directors, Griffith and Eisenstein, both of whom continue to exert a major influence over all narrative film-making. In one sense all narrative is "classical" in that cutting dependent on continuity of movement is basic montage (two shots put together to imply a nonexistent visual relationship) and consequently follows the teaching of Eisenstein...
...taken by Ralph Graves, 44, a 20-year veteran at LIFE who has spent the past two years as senior staff editor of all Time Inc. publications and assistant to Editor in Chief Hedley Donovan. Graves will share responsibility for running the magazine with LIFE'S editor, Thomas Griffith...
When he set out to take his DNA pictures, Caltech Graduate Student Jack Griffith, 26, was well aware that his task would be extremely difficult. The DNA molecules from the pea-plant chromosomes used in his research project were only one thirteen-millionth of an inch across and would be agonizingly difficult to distinguish even with the aid of the most powerful electron microscope. In addition, the molecules would be distorted or destroyed by the instrument's electron beam before they could be photographed. Then how could they be photographed...
After two years of failure, Griffith finally found an answer. Using a delicate technique that he describes as "more witchcraft than science," he began spraying his DNA samples with a thin coating of tungsten atoms. The tungsten film enhanced the outline of the complex molecule and was heavy enough to shield it from the electron beam. But it was not so thick as to obscure the molecular structure. The resulting pictures, which Biophysicist Griffith painstakingly developed himself to bring out maximum detail, show a blurred image that has been magnified 7,300,000 times. Fuzzy as they are, the pictures...
...objectivity." The line between life and art was supposed to dissolve, and there would in the end be no difference between the way things were "out there" and their representation in the work of art. ". . . you get the impression," Pauline Kael has written, "that such cinema theorists think that Griffith shot The Birth of the Nation while the battles were raging, that Eisenstein was making newsreels, and that Rossellini and Bunuel were simply camera witnesses to scenes of extraordinary brutality...