A

Action, 3, 4, 30, 134-141, 313, 314.

Adrift, 294.

Adventure, 305.

After Fifty Years, 360.

Albright, Evelyn May, 74, 87, 90.

Ambrosio Company, 360.

American Company, 92, 268, 290.

Animals, 278, 279.

Annie Crawls Upstairs, 358-360.

Artcraft, 79.


B

Backgrounds, 201.

Balzac, 348.

Barrett, Charles Raymond, 28, 74.

Bells, The, 317-320.

Biograph, 153, 155, 156, 201.

Blue Book, The, 355.

Bookman, The, 356.

Bottle Imp, The, 361.

Brewster, Eugene V., 264, 265.

Brickdust Row, 363, 365.

Bringing Up Father, 343.

Browning, Robert, 358-360.

Burlesque, 325, 326.

Bush, W. Stephen, 282, 283.

Bust, The, 17, 18, 163-166.

Byrne Brothers, 326.


C

Cabanne, William Christy, 252.

Camera, 18.

Cameraman, 18.

Camera tricks, 181-185.

Cask of Amontillado, The, 348-350.

Cast, 18, 31, 32, 37, 109-130, 370.

Censorship, 282-289, 341.

Center of interest, 141-143.

Changes of scene, 144-161.

Characters, 18, 109-130, 140, 142, 315, 316, 337, 338.

Child actors, 279, 288.

Class Reunion, The, 353.

Cleopatsy, 342.

Climax, 26, 194.

Close-up, 18, 166-176.

Coffey, Robert E., 297.

Cohan, George, 289.

Collins, Wilkie, 305.

Comedy Photoplays, 2, 83, 84, 324-346.

Coming Nation, The, 292, 293.

Complication, 89.

Conciseness, 198, 199.

Continuity: See "Scenario."

Cooper, Frederick Taber, 356.

Cooper-Hewitt lights, 247.

Cord of Life, The, 155, 156.

Costume plays, 280.

Count of Monte Cristo, The, 189, 190.

Cowell, Harry, 75, 77.

Crime in photoplays, 284, 285.

Cut-back, 19, 152-157.

Cut-in, 19, 158-161, 233-237.

Cutting, 19.


D

Daphne and the Pirates, 253.

Denouement, 89.

Devil Stone, The, 236, 237, 321.

Dialogue, 3, 200, 201.

Diaphragm, 19, 20.

Diaphragming-in and -out: See "Fade-in," and "Fade-out."

Dickens, Charles, 185-187.

Director, 20, 115, 116, 212-214.

Doing a picture, 20.

Double exposure, 20, 185-188.

Doyle, A. Conan, 348-351, 354.

Dramatic Mirror, The, 140, 263, 357.

Dramatic photoplay, The, 2.

Dreams, 176-181.

Drew, John, 333.

Drew, Mr. and Mrs. Sidney, 329, 333-335.

Dual-character films, 185-188.

Duchess at Prayer, The, 348.

Dumas, Alexander, 189.


E

Eagle's Eye, The, 181-183, 196, 274.

Edison, 3, 78, 111, 172, 275, 297, 358-360.

Editing a Motion Picture, 227.

Editor, 20, 84, 85.

Educational films, 2, 3.

"Edwards, John Milton," 82.

Eight Bells, 326.

Episode, 194.

Essanay, 77.

Everybody's Girl, 363-407.

Expense of production, 268-281.

Exteriors, 20, 248, 249.

Extras, 21.

Extravaganza, 326.


F

Fade in, 21.

Fade out, 21.

Fairbanks, Douglas, 2, 102.

"Faked" scenes, 269-272.

Famous Players, 189, 190.

Farce, 2, 324, 325.

Farnum, William, 186.

Feature photoplays, 24, 188-193.

Fiction Factory, The, 82.

Fiction writing an aid to photoplay writing, 5-16.

Figaro, Paris, 308, 309.

Fildew, William E., 252, 253.

Film, 21, 22.

Fine Arts, 253.

Fisher, "Bud," 343.

Footage, 22.

Fox, 186-188.

Frame, 22.

Frohman, Daniel, 304.


G

Goldwyn, 85.

Grande Bretêche, La, 348.

Green, Anna Katherine, 138.

Griffith, D.W., 153, 157, 167, 226, 336.


H

Hackneyed themes, 296-300.

Halévy, Ludovic, 307.

Hamlet, 325, 326.

Harrison, Louis Reeves, 91, 293.

Hazard, Floyd Hamilton, 304, 322.

Hazlitt, William, 338.

Heart-interest, 293, 305.

Hearts of the World, 157.

"Henry, O.," 201, 351, 352, 363.

Hoadley, C.B., 132, 149.

Hoagland, Herbert Case, 134, 138, 301, 322, 356.

Hoffman, Arthur S., 305, 306.

How to Write a Photoplay, 134, 301, 356.

Human interest, 305, 306.

Humor: See "Comedy."


I

Idea, 22.

In the Country God Forgot, 82.

Incendiary Foreman, The, 273.

Insert, 22, 157-161, 218-244.

Interest centralized, 141-143.

Interpose, 22, 387.

Intolerance, 167, 168.

Irving, Sir Henry, 317.

Irwin, May, 325.


J

Jacobs, W.W., 355.

Johnson, Samuel, 415.


K

Kaiser, The, 127.

Kalem, 132.

Katterjohn, Monte M., 302.

Keenan, Frank, 320.

Keystone Comedy, 329.


L

Lang, Phil, 132, 133.

Leaders, 4, 22, 157-161, 218-244.

Leavenworth Case, The, 138.

Letters, 237-242.

Lighting, 247-249, 280, 281.

Little Stone God, The, 355.

Location, 22, 23, 166.

Lubin, 78.


M

Macbeth, 282, 318.

MacGrath, Harold, 301, 302.

McManus, George, 343.

Magazine Maker, The, 75, 77.

Manuscript record, 415.

Marketing the photoplay, 408-415.

Mask, 161-163.

Maude, Cyril, 333.

Maupassant, Guy de, 351.

Memories, 176-181.

Merwin, Bannister, 172-175, 192, 197, 297.

Metro, 333.

Monkey's Paw, The, 355.

Moore, John Robert, 361, 362.

Mortmain, 184, 185.

Motion Picture Classic, 263.

Motion Picture Magazine, 263, 264.

Motion Picture News, 263, 336.

Motion Picture Story, The, 242.

Motivation, 88.

Motography, 263.

Moving Picture Stories, 15, 264.

Moving Picture World, The, 29, 91, 103, 120-122, 132, 133, 174, 227, 231, 252, 253, 263, 282, 283, 286, 293, 332, 334, 335.

Multiple reel, 23, 24.

Murders in the Rue Morgue, The, 361.

Mutt and Jeff, 343.


N

Names, 120-126.

Necklace, The, 351.

Negative, 23.

Nehls, R.R., 92, 268, 270, 290, 291.

Nestor, 34.

New Catacomb, The, 348-350, 354.


O

Objectionable subjects, 282-303.

Old Musician, The, 129.

Oppenheim, James, 358-360.

Originality, 260-262, 347-362.

Outdoor scenes, 20, 248, 249.

Over-condensation, 199, 223-225.


P

Padding, 189.

"Panorams," 168, 235.

Paramount, 127, 236, 321.

Part, 24.

Pathé, 273, 319, 322, 342.

Phillips, Henry Albert, 87.

Photographing, 208-210.

Photoplay:
construction of, defined, 1-4;
kinds of, 2;
terms, 17-28.

Photoplay Author, The: See The Writer's Monthly.

Photoplay Magazine, 286, 288.

Pickford, Mary, 168.

Picture-Play Magazine, 263.

Pierre of the North, 129.

Pippa Passes, 358-360.

Plagiarism, 350-357.

Plot, 7, 8, 16, 23, 30, 87-95, 136, 255-266.

Plot of the Short Story, The, 23, 87.

Poe, Edgar Allan, 348-350, 361, 362.

Positive, 23.

Powell, A. Van Buren, 363-407.

Prevost, Marcel, 308.

Pribyl, John F., 283-285.

Print, 23.


R

Red Cross, 3, 300.

Reel, 24.

Reeve, Arthur B., 193.

Reformation of Calliope, The, 352.

Register, 24, 25.

Rehearsals, 249, 250.

Release, 25.


S

Sargent, Epes Winthrop, 29, 77, 103, 107, 120-122, 156, 157, 165, 172, 175, 228, 242, 250, 290, 305, 332.

Scenario, 19, 25, 29, 32, 37-54, 131-203, 371-407.

Scene, 25, 144-161, 204-217, 231.

Scene-plot, 25, 32, 33, 204-217.

Script, 25, 26;
its component parts, 29-33;
mechanical preparation of, 55-71.

Seitz, George B., 194.

Selig, 2, 78, 129, 189, 190, 283-285.

Sequence in the action, 135-137.

Serials, 26, 193.

Set, 26, 204-217.

Setting, 26, 166, 204-217.

Short Story, The, 74, 87, 90.

Short-Story Writing, 28.

Situation, 26, 27.

Split reel: See "Reel."

Stage, 27, 245-254.

Stock people, 27.

Stop-camera work, 176-181.

Story, Walter, 283-285.

Strand Magazine, 352, 354.

Stringer, Arthur, 184, 185.

Struggle, 89.

Studio, 27.

Subject, 28.

Sub-title: See "Leader."

Sullivan, C. Gardner, 127.

Sun, New York, 304.

Sun, Sand and Solitude, 82.

Superba, 326.

Super-imposure: See "Double exposure."

Suspense, 137-140, 157, 195.

Swell Miss Fitzwell, The, 325.

Synopsis, 31, 35-37, 87-109, 365-370.


T

Tale of Two Cities, A, 185-187.

Technique of the Photoplay, The, 165, 242.

Thanhouser, 272.

Themes, desirable, 304-323;
undesirable, 282-303.

Thirteenth Man, The, 353.

Thomas, A.W., 288.

Three Friends, 153, 201.

Tinting, 28.

Title, 28, 72-86.

Tremayne, W.A., 129.

Triangle, 79, 127.

Trite themes, 296-300.

Typewriting, 59-70.


U

Universal, 34, 127, 297.


V

Verne, Jules, 311.

Visions, 28, 176-181.

Visualization, 132, 133.

Vitagraph, 106, 107, 129, 171, 172, 184, 185, 277, 278, 297, 302, 350, 363.


W

Wasted Sacrifice, A, 106, 107, 277, 278, 302.

Weber, Lois, 231.

Wells, Elmer N., 129.

Wharton, 181-183, 196, 274.

Wharton, Edith, 348.

Without Reward, 34-54, 208-212.

Woods, Frank E., 226, 227, 357.

Wright, William Lord, 242, 243.

Writers of photoplays,
Previous training of, 5-16.

Writer's Monthly, The, 98, 107, 132, 149, 264.

Writing for the Magazines, 338-341.

Writing the Short-Story, 23, 77, 87, 357.