Biograph Shorts screens at the Museum of Modern Art, in a live, unclassified performance context that treats early cinema as a working archive rather than settled history. The program moves between the foundational grammar associated with D. W. Griffith and later, self-aware interventions linked to Jean-Luc Godard and Anne‑Marie Miéville, placing authorship and power in the same frame. In New York, where MoMA helped define film as a museum art form, the series reads as part of that ongoing civic argument. One clear takeaway is how “short” becomes a method: compression exposes the medium’s assumptions.
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