Africa

Africa, my Africa
Africa of proud warriors in ancestral savannahs
Africa of whom my grandmother sings
On the banks of the distant river
I have never known you
But your blood flows in my veins
Your beautiful black blood that irrigates the fields
The blood of your sweat
The sweat of your work
The work of your slavery
Africa, tell me Africa
Is this you, this back that is bent
This back that breaks
Under the weight of humiliation
This back trembling with red scars
And saying yes to the whip under the midday sun
But a grave voice answers me
Impetuous child that tree, young and strong
That tree over there
Splendidly alone amidst white and faded flowers
That is your Africa springing up anew
Springing up patiently, obstinately
Whose fruit bit by bit acquires
The bitter taste of liberty.
In film, film grammar is defined as follows:

1. A frame is a single still image. It is analogous to a letter.

2. A shot is a single continuous recording made by a camera. It
is analogous to a word.
3. A scene is a series of related shots. It is analogous to
a sentence. The study of transitions between scenes is
described in film punctuation.
4. A sequence is a series of scenes which together tell a major
part of an entire story, such as that contained in a
complete movie. It is analogous to a paragraph.[citation needed]
The term film grammar is best understood as a creative
metaphor, since the elements of film grammar described above
do not stand in any strict relation of analogy to the components of
grammar as understood by philology or modern linguistics.[1]
D. W. Griffith has been called the father of film grammar.[2] Griffith
was a key figure in establishing the set of codes that have
become the universal backbone of film language. He was
particularly influential in popularizing "cross-cutting"using film
editing to alternate between different events occurring at the
same timein order to build suspense. He still used many
elements from the "primitive" style of movie-making that
predated classical Hollywood's continuity system, such as frontal
staging, exaggerated gestures, minimal camera movement, and
an absence of point of view shots. Some claim, too, that he
"invented" the close-up shot for filming.
Credit for Griffith's cinematic innovations must be shared with his
cameraman of many years, Billy Bitzer. In addition, he himself
credited the legendary silent star Lillian Gish, who appeared in
several of his films, with creating a new style of acting for the
cinema.