Abstract
What is the correct version of A Corner in Wheat? This problem is a crucial one for the study of the development of parallel editing for contrast in the work of D. W. Griffith. In Notes on Eisenstein's essay, 'Dickens, Griffith, and the Film Today,' 'l I tried to show that the roots of some of Eisenstein's montage ideas existed in Griffith's Biograph films. My thesis was that, contrary to what Eisenstein had said, Griffith not only made a number of films of social protest, but also conceived of contrast editing for use in such films. This kind of editing, it seems to me, points the way toward Eisenstein's conception of ideological montage, because it forces the spectator to accept certain intellectual conclusions. The film A Corner in Wheat is one of the key examples of this thesis. However, as this article intends to show, there is some difficulty in determining the sequence of the shots.
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