By Patricia Mellencamp, Philip Rosen
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2 (1974), pp. 103-128. See especially, for example, p. 113. 14. It is of relevance to note that in many accounts of historical explanation, this pull towards the general is taken as logically valid. For example, within analytical philosophy a dominant object of debate has been the importance of the general 'covering law' of a syllogistic structure of explanation, made famous by Hempel. Compare Walsh's notion of a 'colligatory concept,' which is another kind of generality (a concept as opposed to a proposition) formulated against Hempel with explicit reference to Hegel.
That secure moment is precisely a concept of historical processes as determined by class struggle. For Brecht there is a direction to history, and any transformation of subjectivity can only be promoted on the basis of a certain position on and in history. This is to say that there is a point of security and explanation in Brecht's theoretical writings. That security is very much like an epistemological security, and it is inseparable from the positing of a future. Brecht's arguments and artistic strategies are in fact founded on and have as their purpose the indication of a certain historical possibility, a certain kind of future.
A varying number of elements of this kind of account of Griffith's career, Birth of a Nation, and Intolerance can be found in several works, including: Lewis Jacobs, The Rise of the American Film: A Critical History (New York: Teachers College Press, 1968), pp. 199-201; Arthur Knight, The Liveliest Art: A Panoramic History of the Movies (New York: New American Library, 1957), pp. W. Griffith: The Father of Film Technique,' is a source which brings together many of the motifs mentioned above); Kenneth MacGowan, Behind the Screen: The History and Techniques of the Motion Picture (New York: Delta Books, 1967), pp.