Practical cinematography and its applications (1913)

Page scan 000304 from Practical cinematography and its applications

Record Details:

Title:
Practical cinematography and its applications
Date:
1913
Publisher:
Philadelphia, Lippincott
Volume:
Practical cinematography and its applications
Leaf #:
000304
Language:
English
Collection:
Books
Format:
Books
Contributor:
Gerstein - University of Toronto
Sponsor:
MSN
Coordinator:
Media History Digital Library
Description:
14
Date Added:
July 19, 2022
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

HOW TO WRITE PHOTO-PLAYS 229 lights, he is an indifferent play-producer, because he will be ignorant of stage-craft and the technique of the profession. A man of such experience and ability is able to sum up the value of a plot in an instant. Consequently the author is well advised to con- dense his plot into as few words as possible— the briefer the outline the better. In some instances it is not even necessary to indicate the characters, the period, or the scene. The plot is the only thing that is wanted : the producer, as he reads it, will conjure up in his mind the period, environment, atmosphere, and characters, wherewith such and such a story may best be worked out. There is one well-known Continental producer who never asks for more than a bald statement of the plot. If it can be conveyed in six lines he is more than satisfied. On one occasion, while seated at lunch, one of the party jestingly suggested an idea. Without a word of comment the producer scribbled the suggestion upon the back of an envelope. Returning to the studio an hour or so later, he handed a note to one of his staff, indicated how he would like it worked out, the colleague fitted in the characters, evolved the scenes, period, and situations, and the next morning the play was staged. One of the foremost French picture-play