The technique of the photoplay ([c1913])

Record Details:

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.

48 TECHNIQUE OF THE PHOTOPLAY 45- Road as in No. 33- Morton passes through in car. 46- Crossroads- Count and Nell enter in car- Count takes right hand road- Nell tosses out glove- make action as marked as possible. 47- Road- John passes through. 48- Crossroads as in No. 46- John enters- slows down- does not know which road- sees glove- recognizes it- kisses it- starts down right hand road. 49- Road- Count and Nell enter- Nell struggling with Count for steering wheel- car swerves. 50- Road- John runs through. 51- Back to No. 48, but car now overturned- Nell and Count in road unconscious beside car- John enters- stops- runs to Nell- works over her. 52- Entrance as in No. 38- Morton enters- woman runs through gate- tells Morton- points- Morton starts ahead. 53- Back to No. 51- Nell revives- they give attention to Count- he is dead- John covers his face with spare auto duster- hear car coming- Morton enters in car- comes to them- thanks John- all enter John's car, leaving Morton's chauffeur with Count- exit. This is rather a crude example of the cut-back, but it serves to show how the scenes are laid out to hold the suspense. It also makes possible that overturned automobile. As the car swerves it is stopped. After .it is overturned scene fifty-one is made and then the last scene. That last scene closes the story rather abruptly, but it is better to stop right there. We see that John gets the girl and there our interest dies. It would be possible to go on and show the marriage, but it would be just as possible and just as logical to keep on and show that they had children and grandchildren, that they lived to a ripe old age, then died and were buried. This is the story of how John won Nell. As soon as he wins her stop, for the interest dies. There is art in knowing just when the story starts, but to know just when to stop and not stop a scene too soon or two scenes too late is a far greater accom- plishment. Before we drop the story note that while we early find that the Count really is Jim Laroque, a thieving chauffeur, we keep on calling him the Count. Have just one name for a character and always use that name.