When watching the scene, we make the assumption that two or more actions happens at the same time. Griffith uses also the "intercutting" of "parallel scenes" (which occur at the same time, but in different location). In the action sequence, it gives the impression of tensely reaching a climax in the film. An example occurs in the sequence where the Klan races to save the southern family trapped in the cabin and to free Elsie Stoneman from Lynch. Shots alternate between the Klan taking over Piedmont, fighting the blacks around the cabin and Elsie's struggle. The more the tension builds up, the more the cut get faster. Eventually, both scenes are put together. The Klan set free the southern family, Elsie and takes over Piedmont's street. Griffith uses the "last minutes rescue" (Film History). This example of "intercutting" shows his development of rhythmic cutting achievement.
Before Griffith, the interpretation was by the actors, their facial, body expression and the props. In order to convey the psychology of the characters, Griffith moved the camera closer to them. That way, he eliminates the exaggerated miming and stress on the acting details. By moving the camera, the acting becomes less stagy than in theatre. In "The Birth of a Nation" the acting style is naturalistic. In the sequence where Elsie returns to her bedroom after meeting Ben Cameron, Griffith uses first a long shot. We see Elsie dancing for joy, expressing her feeling for Ben. Then, Griffith moves to a close-up (Iris Mask) to enlarge Elsie's facial expression and beauty. The close-up enables the audience to see the development of her feelings. Elsie's acting is nuanced. When she goes form tears to smile, she obviously registers a lengthy series of emotions, using only slight gestures. That was again unusual at the time, because in silent film most actors had to exaggerate their movement to be seen on the screen. Here, Griffith uses the framing to reveal more about Elsie's character.
