Modern photoplay writing, its craftsmanship; a manual demonstrating the structural and dramatic principles of the new art as paracticed by the modern photoplaywright (1922)

Record Details:

Title:
Modern photoplay writing, its craftsmanship; a manual demonstrating the structural and dramatic principles of the new art as paracticed by the modern photoplaywright
Date:
1922
Publisher:
Franklin, O. : J. K. Reeve
Volume:
Modern photoplay writing, its craftsmanship; a manual demonstrating the structural and dramatic principles of the new art as paracticed by the modern photoplaywright
Leaf #:
00017
Language:
English
Collection:
Books
Format:
Books
Contributor:
University of California Libraries
Sponsor:
MSN
Coordinator:
Media History Digital Library
Description:
Date Added:
July 19, 2022
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14 Modern Photoplay Writing — Its Craftsmanship the few; there are many who possess the training to write a scenario worthy of production as written, but there are no producers equipped for the indiscriminate production, as written, of such scenarios. The outsider cannot know the con- ditions controlling the personnel or equipment of a given producer; he must write in that form readily adapted to the producers in general. Thus the period of the scenario has expired unmourned. The independent author of the modern era employs the medium best suited to relationship with many producers. The modern photoplaywright submits his story in the form of the DETAILED SYNOPSIS, a synopsis amounting in length to a short-story, cast in the dramatic form, establishing the events, develop- ing the characters, introducing the atmosphere, but minus all dialogue and moralizing not per- tinent to the pictorial demands of the MECHANISM it is intended for, the CAMERA. Thus, the present period might be called the era of the detailed synopsis, which has evolved out of the era of the scenario. It offers to the author of ability the same opportunity to do effective dramatic composition as formerly was offered him, but now in a form unhampering to him who may be only indifferently effective in continuity. In other words, the author is permitted the freedom essential to convey his story in its entirety, leav- ing to another of the brotherhood, the continuity writer, its translation into scenario form. Nor is the author of the synopsis any less a photoplaywright thereby; for we shall see that the detailed synopsis is a dramatic form distinct from the short-story or other narrative types,