Chapter I: Part I: The Principles of the Photodrama

I.--A NEW MEDIUM OF ARTISTIC EXPRESSION 27

The Premise of All Art; the Battle of New
Standards; the Drama of the Eye; Not “Moving
Pictures”; All the World’s the Stage; a
Field Without Limitations.

II.--DIFFERENTIATION 32

How Photodrama Differs from Stage Drama
in Construction, Technique and Expression;
Also from Fiction Construction and Narration
in General and the Short Story and Novel
in Particular.

III.--PARTS OF THE PHOTOPLAY AND THEIR
PURPOSES 39

Title; Synopsis; Cast of Characters; Author’s
Remarks; Scenario; the Scene; the Setting.

IV.--VARIOUS DEVICES--THEIR USE AND MISUSE 48

The Caption; the Insert; the Close-View; the
Vision; Dialog; Breaking Up Long Scenes;
Preserving the Illusion.

V.--VISUALIZATION 65

Its Relation to Action; Importance of Vocabulary;
Literature; to Register; Interpretation;
in Terms of Emotion; the Part of Imagination.

VI.--CHARACTERIZATION 75

Identity and Personality; Characteristics and
Idiosyncrasies; Description and Delineation;
Establishing Relationship; Motives; Expression;
Contrasts.

VII.--THEME, TREATMENT AND THE CENSOR 87

Morals and Ethics; Crime; National Board of
Censorship; Taste; Inspiration and Influence.

VIII.--RULES OF THE GAME 97

Duration and Number of Scenes; Perpetual
Motion; the “Now” Element; Effective Form;
Natural Laws; Scene Principle.

IX.--BROMIDES WORTH REPEATING 107

The Virtue of Economy; Producing Policies;
Period and Costumes; Animals; Copyright and
Carbon Copies; Relation of Author’s Work to
His Audience; to the Manufacturer; to His
Manuscript.

PART II.--THE PLOT OF THE PHOTODRAMA.

I.--WHAT PLOT MATERIAL IS 119

The Plot Germ; the Premise Advanced; Ancient
Theme and Original Treatment.

II.--WHERE TO GET PLOT GERMS 124

Observation; Reading; Employment of Facts;
the Daily Newspaper; Dangers; Propriety;
Originality; the “True Story”; Importance of
Notes; Titles; Plot Classification.

III.--BEGINNING WITH THE END 132

Seeking the Climax; When to Begin the Photoplay;
Ever-Forward Movement; the Live Beginning.

IV.--DEVELOPMENT AND CONTINUITY 138

Each Scene Contributes to the Climax; Element
of Time and Chronological Sequence; Problems
of Continuity; the Central Theme; the Return;
Instantaneous Sequence; Time Indicatives.

V.--THE CLIMAX AND COMPLETED PLOT 146

Sequence and Consequence; Logical Cause and
Complete Solution; Sustained Climax; All
Expectations Fulfilled.

PART III.--DRAMATIC CONSTRUCTION OF THE
PHOTOPLAY.

I.--DRAMA AND PHOTODRAMA 150

Definition; Principles; Structure is Everything;
the Dramatic Idea; Emotion is the Secret;
Desire the Motive Power; Drama and Melodrama.

II.--DRAMATIC EXPRESSION 155

The Laws of Movement and Action; Character
and Motive; Relation to Audience and Character;
Dramatic versus Dynamic; Realism;
Romanticism and Idealism.

III.--SEQUENCE AND SUSPENSE 161

Cause and Effect; Effects Due to Arrangement;
the Raw Coincidence; Suspense Motors; Battle
of Opposing Motives; Motive as Well as Idea.

IV.--THE POTENTIAL SITUATION 166

Contrast; Situation’s Relation to Audience;
Harvesting Situations; Peril and Death; Climax
and Punch.

V.--UNITY PLUS HARMONY EQUALS EFFECT 175

Questions in the Mind of the Audience;
Reason; Truth; Struggle; Solution; the Title;
Harmony Values.

PART IV.-FORMS AND TYPES OF THE PHOTOPLAY.

I.-- 185

Drama and Melodrama; Tragedy; Comedy;
Other Forms; “Split Reel”; Short Play; Long
Play; Spectacle; Adaptations; Play Divisions.

II.--A SPECIMEN PHOTOPLAY 192

The Effectiveness of Typography; “The Salt of
Vengeance,”--a Short Play Drama.

GLOSSARY 212

The Most Used Terms Defined, with Many
Suggestions for Revision and Alternative Terms.