Caught (1943) and Back (1946)

  • Oddvar Holmesland
Part of the Studies in 20th Century Literature book series (STCL)


Caught is composed of a variety of scenes, shifts in location, juxtapositions of present and past, and shifting points of view. Not all these transitions produce tonal effects and not all may be labelled montage as utilized by Eisenstein, a basic technique for the creation of tone in Caught. Rather, they are often what Eisenstein calls ‘parallel montage’ (a technique extensively used by the American film director Griffith), invoked primarily for the purpose of realistic representation. Green’s use of ‘parallel montage’ in Caught may be accounted for by citing Eisenstein’s comment on Griffith’s achievement:

His close-ups create atmosphere, outline traits of the characters, alternate in dialogues of the leading characters…. But Griffith at all times remains on a level of representation and objectivity and nowhere does he try through juxtaposition of shots to shape import and image.1


Coal Fire Fire Brigade Faint Star Montage Arrangement Fire Scene 
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© Oddvar Holmesland 1986

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  • Oddvar Holmesland

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