Introduction

Lois Weber (1879-1939) is celebrated as one of the most pivotal filmmakers of the silent era, with a legacy of over 100 shorts and more than 40 feature films. She made history as the first woman to direct a feature film in 1914, run a Hollywood studio, and gain admission to the Motion Picture Directors Association in 1916. D.W. Griffith (1875-1948), another significant figure in early cinema, is renowned for shaping modern filmmaking but remains a controversial figure due to the racial depictions in his films, particularly The Birth of a Nation (1915).

One of Weber's most acclaimed works, Suspense (1913), tells the story of a young mother (played by Weber herself) trapped in a remote house when a man breaks in, forcing her husband to rush home in a dramatic car chase to save her and their child. This "panic room" setup shares many similarities with Griffith’s earlier The Lonely Villa (1909), but Weber’s film takes these elements further, innovating with techniques like the three-way split screen, over-the-head shots, and creative use of mirrors during the climactic car chase.

While both films contribute to the "panic room" genre, Suspense stands apart in its directorial creativity and technical achievements. Through this annotation project, I aim to highlight the differences in cinematic techniques between Suspense and The Lonely Villa, such as the use of split screens and mirrors, and analyze how Weber’s storytelling methods push the boundaries of early cinema. The annotations will explore key moments, from the tense build-up of danger to the groundbreaking visual techniques, offering insight into Weber’s contributions to film history and their lasting significance.