Photoplay plot encyclopedia; an analysis of the use in photoplays of the thirty-six dramatic situations and their subdivisions. Containing a list of all the fundamental dramatic material to be found in human experience, including the synopses of one hundred produced representative photoplays, with a detailed analysis of the situations used in each. Practical suggestions for combining situations, for testing the strength and novelty of plots, and for building plots; and an index referring to each producer, author, star, story and situation mentioned in the text (1922)

PHOTOPLAY PLOT ENCYCLOPEDIA and unsatisfactory in the photoplay, because it is the easiest and least dramatic way of devising a climax. The dramatic appeal of this situation will require its presence in many of the photoplays of the future, but in its use there must be novelty and distinction of treat- ment or it will be mere imitation of the dramatists of the past. A (3)— Mistaken Jealousy of a Love Which Is Purely Platonic. (4)—Baseless Jealousy Aroused by Malicious Rumors. B (1)—Jealousy Suggested by a Traitor Who Is Moved by Hatred. (2)—The Same Case, in Which the Traitor is Moved by Self-interest. B (3)—The Same Case, in Which the Traitor Is Moved by Jealousy and Self-interest. C (1)—Reciprocal Jealousy Suggested to Husband and Wife by Rival. (2)—Jealousy Suggested to the Husband by a Dismissed Suitor. (3)—Jealousy Suggested to the Husband by a Woman Who Is in Love With Him. (4)—Jealousy Suggested to the Wife by a Scorned Rival. (5)—Jealousy Suggested to a Happy Lover by the Deceived Husband. THIRTY-THIRD SITUATION—ERRONEOUS JUDGMENT. Situation XXXIII should be considered as a very valuable secondary situation, one by which the horror or depression of some of the others may be relieved. Any kind of mistaken or erroneous judgment may be understood as embraced by this general grouping. In its more specific cases, its chief use has been in dramas involving the now timeworn idea of circumstantial evidence, false accusation against the hero, or against the heroine, which in most cases has been brought to a happy ending by the confession—usually dying confession—of the villain. Because this situation places the entire burden of responsibility upon the much-abused villain, it is likely to be unreal. The general idea of false suspicion falling upon one innocent, because of the activity of a "villain," has been almost exhausted as photoplay material, and its future use must be logical, plausible and convincing. Especial attention must be paid to the character- ization of the villain, for upon him the situation rests. A (1) — False Suspicion^-of a Mistress. (2)—False Suspicions Aroused by a Misunderstood Attitude of a Loved One. (3)—By Indifference. B (1)—False Suspicions Drawn Upon One's Self to Save a Friend. (2)—They Fall Upon the Innocent. Upon the Innocent Husband of the Guilty One. (3)—The Same Case as (2), but in Which the Innocent Had a GuUty Intention; in Which Case the Innocent Believes Himself Guilty. (4)—A Witness to the Crime, in the Interest of a Loved One, Lets Accusation Fall Upon the Innocent. C (1)—The Accusation Is Allowed to Fall Upon an Enemy. (2)—The Error Is Provoked by an Enemy. (3)—The Mistake Is Directed Against the Victim by Her Brother. D (1)—False Suspicion Thrown by the Real Culprit Upon One of His Enemies. (2)—Thrown by the Real Culprit Upon the Second Victim Against Whom He Has Plotted from the Beginning. (3)—False Suspicion Thrown Upon a Rival. 47