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 EXCYCLOPEDL\ This is one of the best stories of the stage which has been produced on the screen. There is a directness, a simplicity about it that is refreshing. It deals with theatrical life authentically and realistically. It is, consequently, convincing, whereas many of the preceding plays composed of similar subject matter have been weak, because they exaggerated certain salient features of life behind the footlights. In an analysis of the technique, the absence of the stereotyped "villain" is note- worthy, and comes as a relief to the discriminating spectator. Instead of a leering, ubiquitous rascal who "pursues" the heroine and succeeds in compromising her, there is only a mischievous, intriguing maid for the antagonist. Although, in fact, she can hardly be classed as "unsympathetic" since it is through her machinations that the lover comes to learn of the true woman who is masquerading as the actress. Here is proof conclusive that a writer may dispense with "villains" and still thoroughly entertain his audience from the beginning of the picture to the end. The leading character has charm and sincerity. She is a heroine who "does things." In her desire to make a place for herself in the world, to forge ahead and turn her talent and her vivid personalit>- to good account, she is expressing the idealism and the energj' of youth, and she sweeps her audience along with her, appealing to emotions that they have in common with her. The star is afforded an opportunit>- for fine character contrasts in enacting the two utterly diverse roles,—that of the simple New England girl, and that of the extravagant, moody Russian. Here is an instance where the dual role motif is used advantageously. The rather hackneyed trick of "disguise" is dealt with differently and entertainingly. The necessit>' for "Lizzie" to live up to the pretentions and the "dark, passionate past" of "Lisa" is excellent comedy material, allowing for many humorous complications. The justification for the "disguise" here, lies in the fact that it is convincingly motivated: "Lizzie" is really forced to adopt some such measure, and her doing so is made thoroughly logical. Furthermore, the "disguise" gives rise to an element of well-drawn mental conflict: the conflict betiveen the illustrious "Lisa" who wants a career above all things, and the plain little "Lizzie" who wants a husband and a home. The first situation of prominence in this dramatic structure, is, of course XXX ("Ambition"), leading logically into IX ("Daring Enterprise") at the point where Lizzie makes her decision to enter upon an entirely new and hazardous mode of living. XXVIII ("Obstacles to Love") plays a major part, and the climax is based upon a good use of XXXIII ("Erroneous Judgment"). The action never touches on the tragic, or the melodramatic, the situations being so used that the story is a simple one, told in a simple way. The characters are real, thinking and acting as people do think and act. The picture appeals to the average spectator because it is essentially human. "BITS OF LIFE." (Marshall Neilan production; all-star cast; directed by Marshall Neilan.) Synopsis This feature consists of four distinct stories, the first three of which are superficial but smartly written bits of life, and have appeared in popular fiction magazines. The last story was written by Mr. Neilan himself, and is a clever satire on the old "Pris- oner of Zenda" type of tale. The stories are prefaced by the statement of the producer that the difficulty of finding good scenarios forced him to mate a program of four short plots. The opening story, "The Bad Samaritan," deals with the experiences of a crook, who, after having gained wealth and position has been able continually to elude the detectives. A pal, just released from the penitentiary, wishes to borrow some money. The crook undertakes to show him how easily it may be obtained. As they walk along in a quiet park, the crook stops a boy who is running and casting an occasional glance behind him. When the crook demands the wallet the boy has just stolen, much to the surprise of the friend, it is forthcoming. The crook tells the corner policeman to <1