D. W. Griffith
Born	David Llewelyn Wark Griffith (1875-01-22)January 22, 1875 LaGrange, Kentucky, United States
Died	July 23, 1948(1948-07-23) (aged 73) Hollywood, California, United States
Occupation	Actor, film director, film producer
Years active	1908–1931
Influenced by	Giovanni Pastrone
Influenced	Orson Welles, Alfred Hitchcock, John Ford
Spouse	Linda Arvidson (1906–1936) Evelyn Baldwin (1936–1947)

David Llewelyn Wark "D. W." Griffith (January 22, 1875 – July 23, 1948) was a premier pioneering American film director.^[1] He is best known as the director of the epic 1915 film The Birth of a Nation and the subsequent film Intolerance (1916).^[2]

Griffith's film The Birth of a Nation made pioneering use of advanced camera and narrative techniques, and its immense popularity set the stage for the dominance of the feature-length film in the United States. The film has been extremely controversial for its negative depiction of African Americans, white Unionists and Reconstruction, and its positive portrayal of slavery and the Ku Klux Klan. The film was widely criticized and subject to boycotts by anti-racist organizations such as the NAACP. Griffith responded to his critics with Intolerance, intended to show the history of prejudiced thought and behavior. The film was not a financial success but was praised by critics. Several of Griffith's later films were also successful, but his high production, promotional, and roadshow costs often made his ventures commercial failures. He is generally considered one of the most important figures of early cinema for his command of film techniques and expressive skills.

Early life and education[link]

Griffith was born in Crestwood, Kentucky to Mary Perkins and Jacob "Roaring Jake" Griffith, who were of Anglo-Welsh ancestry. His father served as a Confederate Army colonel in the American Civil War and was elected as a Kentucky state legislator. Griffith was raised as a Methodist.^[3] D. W.  attended a one-room schoolhouse where he was taught by his older sister, Mattie Griffith. After his father died when the boy was ten, the family struggled with poverty. When Griffith was 14, his mother abandoned the farm and moved the family to Louisville, where she opened a boarding house. It failed shortly after. Griffith left high school to help support the family. He first took a job in a dry goods store, and later in a bookstore.

Griffith began his art career as a playwright but met with little success; only one of his plays was accepted for a performance.^[4] Griffith decided to become an actor, and appeared in many plays as an extra.^[5]

Film career[link]

D. W. Griffith on a movie set with actor Henry Walthall and others

In 1907, Griffith, still writing as a playwright, went to New York and attempted to sell a script to Edison Studios producer Edwin Porter.^[4] Porter rejected Griffith's script, but gave him an acting part in Rescued from an Eagle's Nest.^[4] Finding this attractive, Griffith explored the motion picture business. In 1908, Griffith accepted an acting job for the American Mutoscope and Biograph Company, commonly known as Biograph, in New York City. At Biograph, Griffith's career in the film industry would change forever.^[6] In 1908, Biograph's main director Wallace McCutcheon grew ill, and his son, Wallace McCutcheon, Jr., took his place.^[7] McCutcheon, Jr., however, was not able to bring the studio success.^[6] As a result, the Biograph head Henry Marvin decided to give Griffith the position;^[6] and the young man made his first movie for the company, The Adventures of Dollie.

Biograph's In Old California (1910) was the first film shot in Hollywood, California. Influenced by the Italian feature film Cabiria (1914), Griffith was convinced that feature films were commercially viable. He produced and directed the Biograph film Judith of Bethulia (1914), one of the earliest feature films to be produced in the United States. At the time, Biograph believed that longer features were not viable. According to actress Lillian Gish, "[Biograph] thought that a movie that long would hurt [the audience's] eyes".^{[citation needed]}

Because of company resistance to his goals, and his cost overruns on the film (it cost US$30,000 dollars to produce), Griffith left Biograph. He took his stock company of actors with him and joined the Mutual Film Corporation. He formed a studio with the Majestic Studio manager Harry Aitken^[8]; it became known as Reliance-Majestic Studios (and was later renamed Fine Arts Studio).^[9] His new production company became an autonomous production unit partner in Triangle Film Corporation along with Thomas Ince and Keystone Studios' Mack Sennett; the Triangle Film Corporation was headed by Griffith's partner Harry Aitken, who was released from the Mutual Film Corporation,^[8] and his brother Roy.

Star on the Hollywood Walk of Fame at 6535 Hollywood Blvd.

Through Reliance-Majestic Studios, Griffith produced The Clansman (1915), which would later be known as The Birth of a Nation. Historically, The Birth of a Nation was the first blockbuster. It is considered important by film historians as one of the first feature length American films (most previous films had been less than one hour long), and it changed the industry's standard in a way still influential today.^[10] It was enormously popular, breaking box office records, but aroused controversy due to its depiction of slavery, the Ku Klux Klan, and race relations in the Civil War and the Reconstruction era. Like its source material, Thomas Dixon, Jr.'s 1905 novel The Clansman, it depicts Southern pre-Civil War slavery as benign, the enfranchisement of freedmen as a corrupt Republican plot, and the Ku Klux Klan as a band of heroes restoring the rightful order. This view of the era was popular at the time, and was endorsed by historians of the Dunning School for decades, although it met with strong criticism from the National Association for the Advancement of Colored People and other groups. The NAACP attempted to stop showings of the film; while they were successful in some cities, it was shown widely and became the most successful box office attraction of its time. "They lost track of the money it made", Lillian Gish once remarked in a Kevin Brownlow interview.^{[citation needed]}

Among the people who profited by the film was Louis B. Mayer, who bought the rights to distribute The Birth of a Nation in New England. With the money he made, he was able to begin his career as a producer that culminated in the creation of Metro-Goldwyn-Mayer studios.

Griffith at a rolltop desk, c. 1925

After seeing the film, which was filled with action and violence, audiences in some major northern cities rioted over the film's racial content.^[11]

In his next film, Intolerance, Griffith believed he was responding to critics. He portrayed the effects of intolerance in four different historical periods: the Fall of Babylon; the Crucifixion of Jesus; the events surrounding the St. Bartholomew's Day massacre (during religious persecution of French Huguuenots); and a modern story. During its release Intolerance was not a financial success; although it had good box office turn-outs, the film did not bring in enough profits to cover the lavish road show that accompanied it.^[12] Griffith put a huge budget into the film's production, which could not be recovered in its box office.^[13]

When his production partnership was dissolved in 1917, Griffith went to Artcraft (part of Paramount), then to First National (1919–1920). At the same time he founded United Artists, together with Charlie Chaplin, Mary Pickford, and Douglas Fairbanks. At United Artists, Griffith continued to make films, but never could achieve box office grosses as high as either The Birth of a Nation or Intolerance.^[14]

Griffith was also a producer on the 1915 movie Martyrs of the Alamo.

Later film career[link]

Broken Blossoms

Though United Artists survived as a company, Griffith's association with it was short-lived. While some of his later films did well at the box office, commercial success often eluded him. Griffith features from this period include Broken Blossoms (1919), Way Down East (1920), Orphans of the Storm (1921), Dream Street (1921), One Exciting Night (1922) and America (1924). Of these, the first three were successes at the box office.^[15]

On 29 March, 1929 at the bungalow of Mary Pickford at United Artists brought together Pickford, Douglas Fairbanks, Charles Chaplin, Norma Talmadge, Gloria Swanson, John Barrymore, Dolores del Río and Griffith to speak on the radio show The Dodge Brothers Hour to prove he could meet the challenge of talking movies. ^[16] Griffith was forced to leave United Artists after Isn't Life Wonderful (1924) failed at the box office.

He returned to his job as a director.^[17] Griffith made a part-talkie Lady of the Pavements (1929) and only two full-sound films, Abraham Lincoln (1930) and The Struggle (1931). Neither was successful, and he never made another film.

In 1936, director Woody Van Dyke, who had worked as Griffith's apprentice on Intolerance, asked Griffith to help him shoot the famous earthquake sequence for San Francisco, but did not give him any film credit. Starring Clark Gable, Jeanette MacDonald, and Spencer Tracy, it was the top-grossing film of the year.^[18]

In 1939, the producer Hal Roach hired Griffith to produce Of Mice and Men (1939) and One Million B.C. (1940). He wrote to Griffith, "I need help from the production side to select the proper writers, cast, etc. and to help me generally in the supervision of these pictures."^[19] Although Griffith eventually disagreed with Roach over the production and parted, Roach later insisted that some of the scenes in the completed film were directed by Griffith. This would make the film the final production in which Griffith was actively involved. But, cast members' accounts recall Griffith directing only the screen tests and costume tests. When Roach advertised the film in late 1939 with Griffith listed as producer, Griffith asked that his name be removed.^[20]

Mostly forgotten by movie goers of the time, Griffith was held in awe by many in the film industry. In the mid 1930s, he was given a special Oscar by the Academy of Motion Picture Arts and Sciences. In 1946, he visited the film location of David O. Selznick's epic western, Duel in the Sun, where some of his veteran actors, Lillian Gish, Lionel Barrymore, and Harry Carey, were cast members. The actors found their old mentor's presence so disconcerting that he was asked to cut short his visit in order that filming could resume.^{[citation needed]}

Death[link]

Griffith was discovered unconscious in the lobby at the Knickerbocker Hotel in Los Angeles, where he had been living alone. He died of a cerebral hemorrhage on July 23, 1948, at 3:42 PM on the way to a Hollywood hospital.^[2] A large public service was held in his honor at the Hollywood Masonic Temple, but few stars came to pay their last respects. He is buried at Mount Tabor Methodist Church Graveyard in Centerfield, Kentucky.^[21] In 1950, The Directors Guild of America provided a stone and bronze monument for his gravesite.

Legacy[link]

Stamp issued by the United States Postal Service commemorating D. W. Griffith

Motion picture legend Charles Chaplin called Griffith "The Teacher of us All". This sentiment was widely shared. Filmmakers as diverse as John Ford, Alfred Hitchcock and Orson Welles have spoken of their respect for the director of Intolerance. Orson Welles said "I have never really hated Hollywood except for its treatment of D. W. Griffith. No town, no industry, no profession, no art form owes so much to a single man."

Griffith seems to have been the first to understand how certain film techniques could be used to create an expressive language; it gained popular recognition with the release of his The Birth of a Nation (1915). His early shorts, such as Biograph's The Musketeers of Pig Alley (1912), the first "gangster film," show that Griffith's attention to camera placement and lighting heightened mood and tension. In making Intolerance, the director opened up new possibilities for the medium, creating a form that seems to owe more to music than to traditional narrative.

California Historical Marker marking the site of D. W. Griffith's movie ranch in Sylmar, California

• In 1953, the Directors Guild of America instituted the D. W. Griffith Award, its highest honor.
• 1975, Griffith was honored on a ten-cent postage stamp by the United States.
• On December 15, 1999, DGA President Jack Shea and the DGA National Board announced that the award would be renamed as the "DGA Lifetime Achievement Award." Although Griffith was extremely talented, they felt his film The Birth of a Nation had "helped foster intolerable racial stereotypes," and that it was better not to have the top award in his name.

• In 2008 the Hollywood Heritage Museum hosted a screening of Griffith's earliest films, to commemorate the centennial since his start in film.^[22]
• On January 22, 2009 the Oldham History Center in La Grange, Kentucky opened a 15 seat theatre in Griffith's honor. The theatre features a library of available Griffith films.^[23]

Film preservation[link]

D.W. Griffith has five films preserved in the United States National Film Registry as being "culturally, historically, or aesthetically significant." These are Lady Helen's Escapade (1909), A Corner in Wheat (1909), The Birth of a Nation (1915), Intolerance: Love's Struggle Throughout the Ages (1916), and Broken Blossoms (1919).

Selected filmography[link]

• The Taming of the Shrew (1908)
• Money Mad (1908)
• Balked at the Altar (1908)
• Romance of a Jewess (1908) with Florence Lawrence
• At the Altar (1909)
• Those Awful Hats (1909)
• Lady Helen's Escapade (1909)
• Resurrection (1909)
• The Country Doctor (1909) with Florence Lawrence and Mary Pickford
• A Corner in Wheat (1909)
• The House with Closed Shutters (1910)
• In Old California (1910) with Henry B. Walthall
• In the Border States (1910) with Henry B. Walthall
• The Lonedale Operator (1911) with Blanche Sweet
• The Smile of a Child (1911) with Blanche Sweet
• Fighting Blood (1911) with Blanche Sweet and Lionel Barrymore
• Out from the Shadow (1911) with Blanche Sweet
• The Making of a Man (1911) with Blanche Sweet
• Her Awakening (1911) with Mabel Normand
• The Goddess of Sagebrush Gulch (1912) with Blanche Sweet
• Friends (1912) with Mary Pickford, Henry B. Walthall, Lionel Barrymore and Harry Carey
• An Unseen Enemy (1912) with Lillian Gish and Dorothy Gish
• The New York Hat (1912) with Mary Pickford, Lionel Barrymore, Mae Marsh and Lillian Gish
• The Musketeers of Pig Alley (1912) with Lillian Gish
• Drink's Lure (1913)
• Oil and Water (1913) with Blanche Sweet, Henry B. Walthall, Lionel Barrymore and Harry Carey
• Judith of Bethulia (1914) with Blanche Sweet, Henry B. Walthall, Mae Marsh, Lillian Gish and Dorothy Gish
• Strongheart (1914) with Blanche Sweet, Lionel Barrymore and Alan Hale
• The Avenging Conscience (1914) with Blanche Sweet and Henry B. Walthall
• The Birth of a Nation (1915) with Lillian Gish, Henry B. Walthall, Mae Marsh, Miriam Cooper and Raoul Walsh
• Intolerance (1916)
• Hearts of the World (1918) with Lillian and Dorothy Gish
• The Great Love (1918) with Lillian Gish
• True Heart Susie (1919) with Lillian Gish and Robert Harron
• Broken Blossoms (1919) with Lillian Gish
• A Romance of Happy Valley (1919)
• Way Down East (1920) with Lillian Gish
• Orphans of the Storm (1921) with Lillian Gish and Dorothy Gish
• Dream Street (1921) with experimental sound sequences in Photokinema sound-on-disc process
• One Exciting Night (1922) with Henry Hull
• Mammy's Boy (1923) with Al Jolson
• The White Rose (1923) with Carol Dempster and Mae Marsh
• America (1924)
• Isn't Life Wonderful (1924) with Carol Dempster and Neil Hamilton
• Sally of the Sawdust (1925) with W.C. Fields and Carol Dempster
• The Sorrows of Satan (1926)
• Drums of Love (1928) with Mary Philbin and Lionel Barrymore
• The Battle of the Sexes (1928)
• Lady of the Pavements (1929) with Lupe Vélez and William Boyd
• D.W. Griffith's 'Abraham Lincoln' (1930) with Walter Huston
• The Struggle (1931)

See also[link]

Biography portal

• D. W. Griffith House

References[link]

Further reading[link]

• David W. Menefee, Sweet Memories (Dallas, Texas: Menefee Publishing Inc., 2012)
• Lillian Gish, The Movies, Mr. Griffith and Me (Englewood, New Jersey: Prentice Hall, 1969)
• Karl Brown, Adventures with D. W. Griffith (New York: Farrar, Straus and Giroux, 1973)
• Richard Schickel, D. W. Griffith: An American Life (New York: Simon and Schuster, 1984)
• Robert M. Henderson, D. W. Griffith: His Life and Work (New York: Oxford University Press, 1972)
• William M. Drew, D. W. Griffith's "Intolerance:" Its Genesis and Its Vision (Jefferson, New Jersey: McFarland & Company, 1986)
• Kevin Brownlow, The Parade's Gone By (New York: Alfred A. Knopf, 1968)
• Seymour Stern, An Index to the Creative Work of D. W. Griffith, (London: The British Film Institute, 1944–47)
• David Robinson, Hollywood in the Twenties (New York: A. S. Barnes & Co, Inc., 1968)
• Edward Wagenknecht and Anthony Slide, The Films of D. W. Griffith (New York: Crown, 1975)
• William K. Everson, American Silent Film (New York: Oxford University Press, 1978)
• Matthew Smith, "American Valkyries: Richard Wagner, D. W. Griffith, and the Birth of Classical Cinema", in Modernism/modernity 15:2 ([2] April 2008), 221–42.
• Iris Barry and Eileen Bowser, D. W. Griffith: American Film Master (Garden City, New York: Doubleday, 1965)
• Drew, William M.. "D.W. Griffith (1875–1948)". http://www.gildasattic.com/dwgriffith.html. Retrieved July 31, 2007. 

External links[link]

• D. W. Griffith at the Internet Movie Database
• Bibliography of books and articles about Griffith via UC Berkeley Media Resources Center
• Watch Griffith Public Domain Films at the Internet Archive
• "Those Awful Hats" (1909) by D.W. Griffith, from No Narrative
• "The Box in the Screen" D.W. Griffith and television

W. Griffith was the second head football coach for Washburn University in Topeka, Kansas and he held that position for the 1896 season. His overall coaching record at Washburn was 6 wins, 1 losses, and 1 ties. This ranks him number 24th at Washburn in terms of total wins.^[1]

References[link]

Lillian Gish
Lillian Gish, 1921
Born	Lillian Diana Gish (1893-10-14)October 14, 1893 Springfield, Ohio
Died	February 27, 1993(1993-02-27) (aged 99) New York City, New York
Occupation	Actress
Years active	1912–1987
Website
http://www.lilliangish.com/index.php

Lillian Diana Gish (October 14, 1893 – February 27, 1993^[1]) was an American stage, screen and television actress whose film acting career spanned 75 years, from 1912 to 1987. She was called "The First Lady of American Cinema".

She was a prominent film star of the 1910s and 1920s, particularly associated with the films of director D.W. Griffith, including her leading role in Griffith's seminal Birth of a Nation (1915). Her sound-era film appearances were sporadic, but included memorable roles in the controversial western Duel in the Sun (1946) and the offbeat thriller Night of the Hunter (1955). She did considerable television work from the early 1950s into the 1980s, and closed her career playing, for the first time, opposite Bette Davis in the 1987 film The Whales of August.

The American Film Institute (AFI) named Gish 17th among the greatest female stars of all time.^[2] She was awarded an Honorary Academy Award in 1971, and in 1984 she received an AFI Life Achievement Award.^[3]

Early life[link]

Lillian Diana Gish was born in 1893 in Springfield, Ohio. She was the daughter of Mary Robinson McConnell (an Episcopalian) and James Leigh Gish (who was of German Lutheran descent).^[4] Gish's father left the family before she was old enough to remember him; her mother then took up acting to support the family. She had a younger sister, Dorothy. The family moved to East St. Louis, Illinois, where they lived for several years with Lillian's aunt and uncle, Henry and Rose McConnell. Their mother opened the Majestic Candy Kitchen and the girls helped sell popcorn and candy to patrons of the old Majestic Theater, located next door. The girls attended St. Henry's School, where they acted in school plays. When the theater burned down the family moved to New York where the girls became good friends with a next door neighbor, Gladys Smith. Gladys was a child actress who did some work for director D.W. Griffith. She later took the stage name, Mary Pickford. When Lillian and Dorothy were old enough, they joined the theatre, often traveling separately in different productions. They also took modeling jobs.

The first several generations of Gishes were Dunkard ministers. Her great-great-great grandfather came to America on the ship Pennsylvania Merchant in 1733 and received a land grant from William Penn. Her great-great grandfather was in the American Revolutionary War and is buried in a cemetery in Pennsylvania for such soldiers, a bit of an oddity because Dunkards are supposed to be more pacifist than Amish or Quakers. Letters between her and a Pennsylvania college professor indicate that her knowledge of her family background was limited.

In 1912, their friend Mary Pickford introduced the sisters to D. W. Griffith, and helped get them contracts with Biograph Studios. Lillian Gish would soon become one of America's best-loved actresses. Although she was already nineteen, she gave her age as 16 to the studio.^[5]

Career[link]

The sisters debuted in Griffith's short film An Unseen Enemy (1912). Lillian went on to star in many of Griffith's most acclaimed films, including The Birth of a Nation (1915), Intolerance (1916), Broken Blossoms (1919), Way Down East (1920) and Orphans of the Storm (1921). One of the enduring images of Gish's silent film years is the climax of the melodramatic Way Down East, in which Gish's character floats unconscious on an ice floe towards a raging waterfall, her long hair trailing in the water.

Lillian Gish in Broken Blossoms

1921 fan magazine cover by Rolf Armstrong

Having appeared in over 25 short films and features in her first two years as a movie actress, Lillian became a major star, becoming known as "The First Lady of the Silent Screen" and appearing in lavish productions, frequently of literary works such as The Scarlet Letter. MGM released her from her contract in 1928 after the failure of The Wind (1928), now recognized by many as among her finest performances and one of the most distinguished works of the late silent period.

She directed one film, Remodeling Her Husband (1920), when D. W. Griffith took his unit on location—he told Gish that he thought the crew would work harder for a girl. Gish never directed again, telling reporters at the time that directing was a man's job.^[6]

With her debut in talkies only moderately successful, she acted on the stage for the most part in the 1930s and early 1940s, appearing in roles as varied as Ophelia in Guthrie McClintic's landmark 1936 production of Hamlet (with John Gielgud and Judith Anderson) and Marguerite in a limited run of La Dame aux Camélias. Of the former, she said, with pride, "I played a lewd Ophelia!".

Lillian Gish as Anna Moore in D. W. Griffith's film Way Down East (1920)

Returning to movies, Gish was nominated for the Academy Award for Best Supporting Actress in 1946 for Duel in the Sun. The scenes of her character's illness and death late in that film seemed intended to evoke the memory of some of her silent film performances. She appeared in films from time to time for the rest of her life, notably in Night of the Hunter (1955) as a rural guardian angel protecting her charges from a murderous preacher played by Robert Mitchum. She was considered for various roles in Gone with the Wind ranging from Ellen O'Hara, Scarlett's mother, which went to Barbara O'Neil,^[7] to prostitute Belle Watling, which went to Ona Munson.

Gish made numerous television appearances from the early 1950s into the late 1980s. Her most acclaimed television work was starring in the original production of The Trip to Bountiful in 1953. She appeared as Dowager Empress Maria Feodorovna in the short-lived 1965 Broadway musical Anya. In addition to her later acting appearances, Gish became one of the leading advocates on the lost art of the silent film, often giving speeches and touring to screenings of classic works. In 1975, she hosted The Silent Years, a PBS film program of silent films.

Gish in 1973

Gish received a Special Academy Award in 1971 "For superlative artistry and for distinguished contribution to the progress of motion pictures." In 1979, she was awarded the Women in film Crystal Award in Los Angeles^[8] In 1984, she received an American Film Institute Lifetime Achievement Award, becoming only the second female recipient (preceded by Bette Davis in 1977), and the only recipient who was a major figure in the silent era. She has a star on the Hollywood Walk of Fame at 1720 Vine Street.

Her last film role was in The Whales of August in 1987 at the age of 93, with Vincent Price, Bette Davis and Ann Sothern, in which she and Davis starred as elderly sisters in Maine. Her final professional appearance was a cameo on the 1988 studio recording of Jerome Kern's Show Boat, starring Frederica von Stade and Jerry Hadley, in which she affectingly spoke the few lines of The Old Lady on the Levee in the final scene. The last words of her long career were, "Good night, dear."

Some in the entertainment industry were angry that Gish did not receive an Oscar nomination for her role in The Whales of August. Gish herself was more complacent, remarking that it saved her the trouble of "losing to Cher" (who did, in fact, win for her performance in Moonstruck).

Personal life[link]

Lillian and her sister Dorothy

Gish never married or had children. The association between Gish and D. W. Griffith was so close that some suspected a romantic connection, an issue never acknowledged by Gish, although several of their associates were certain they were at least briefly involved. For the remainder of her life, she always referred to him as "Mr. Griffith."

She was involved with producer Charles Duell and drama critic and editor George Jean Nathan. In the 1920s, Gish's association with Duell was something of a tabloid scandal because he had sued her and made the details of their relationship public.^[9]

During the period of political turmoil in the United States that lasted from the outbreak of World War II in Europe until the attack on Pearl Harbor, she maintained an outspoken non-interventionist stance. She was an active member of the America First Committee, an anti-intervention organization founded by retired General Robert E. Wood with aviation pioneer Charles Lindbergh as its leading spokesman. She said she was blacklisted by the film and theater industries until she signed a contract in which she promised to cease her anti-interventionist activities and never disclose the fact that she had agreed to do so.^[10]

She maintained a very close relationship with her sister Dorothy, as well as with Mary Pickford, for her entire life. Another of her closest friends was actress Helen Hayes; Gish was the godmother of Hayes' son James MacArthur.

Death[link]

She died in her sleep of natural causes on February 27, 1993, at the age of 99 and is interred beside her sister Dorothy at Saint Bartholomew's Episcopal Church in New York City. Her estate, which she left to Hayes (who died a month later) was valued at several million dollars, and went to provide prizes for artistic excellence.

Legacy[link]

• The Dorothy and Lillian Gish Prize
• A street in Massillon, Ohio is named after Gish, who had lived there during an early period of her life and fondly referred to it as her hometown throughout her career.
• Bowling Green State University in Bowling Green, Ohio is home to the Gish Film Theater and Gallery, which is dedicated to the works of both Dorothy and Lillian Gish.
• Gish was a leading character in The Biograph Girl, a 1980 stage musical about the silent film era.
• The Smashing Pumpkins titled their 1991 debut album, "Gish". Lillian Gish was the only memory that Billy Corgan could recall as to why he named the album "Gish". In the liner notes for the 2012 re-release of the album, Corgan states that his grandmother remembered seeing her once and the name "Gish" stuck.

Filmography[link]

Books[link]

Autobiographical:

• The Movies, Mr. Griffith, and Me (with Ann Pinchot) (Prentice-Hall, 1969)
• Dorothy and Lillian Gish (Charles Scribner's Sons, 1973)
• An Actor's Life For Me (with Selma G. Lanes) (Viking Penguin, 1987)

Biographical and other:

• Lillian Gish an Interpretation – Edward Wagenknecht (University of Washington, 1927)
• Life and Lillian Gish – Albert Bigelow Paine (Macmillan, 1932)
• Lillian Gish: the Movies, Mr. Griffith and Me, by Gish co-authored with Ann Pinchot; ISBN 0-491-00103-7, W.H. Allen 1969, and ISBN 0-916515-40-0 Mercury House, 1988.
• Star Acting – Gish, Garbo, Davis – Charles Affron (E.P. Dutton, 1977)
• A Moment with Miss Gish – Peter Bogdanovich (Santa Teresa Press, 1995)
• Lillian Gish A Life on Stage and Screen – Stuart Oderman (McFarland & Company, 2000)
• Lillian Gish Her Legend, Her Life – Charles Affron (Scribner, 2001)

Documentaries about Gish[link]

• Terry Sanders' 1988 documentary Lillian Gish: An Actor's Life for Me.
• Actress Jeanne Moreau produced a documentary on Gish.

See also[link]

Biography portal

• Women's Cinema

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Lillian Gish

Wikimedia Commons has media related to: Lillian Gish

• Lillian Gish at the Internet Movie Database
• Lillian Gish at the TCM Movie Database
• Lillian Gish at the Internet Broadway Database
• Official website
• Lillian Gish Film Festival in Springfield, Ohio
• The Dorothy and Lillian Gish Film Theater

• Extensive Lillian Gish gallery
• Photographs and bibliography
• Lillian Gish photographed by Edward Steichen in November 1934 issue of Vanity Fair. She usually played the sweet innocent but here she plays the role of a harlot in the play Within the Gates.
• Maison 140 was built in 1939, the stylish brick facade building was originally a residential apartment owned by famed silent film star Lillian Gish.