^B ^^B O UC ooo SOUTHERN in REGiC .(O i \ */ y*^ PHOTOPLAY PLOT ENCYCLOPEDIA AN ANALYSIS OF THE USE IN PHOTO- PLAYS OF THE THIRTY-SIX DRAMATIC SITUATIONS AND THEIR SUBDIVISIONS. CONTAINING A LIST OF ALL THE FUNDAMENTAL DRAMATIC MATE- RIAL TO BE FOUND IN HUMAN EX- PERIENCE, INCLUDING THE SYNOPSES OF ONE HUNDRED PRODUCED REP- RESENTATIVE PHOTOPLAYS, WITH A DETAILED ANALYSIS OF THE SITUA- TIONS USED IN EACH. PRACTICAL SUGGESTIONS FOR COMBINING SITUATIONS, FOR TEST- ING 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. By FREDERICK PALiMER SECOND REVISED EDITION. '» PUBLISHED BY , PALMER PHOTOPLAY CORPORATION Department of Education ''^ . ,• LOS ANGELES, CAL. •— -^ >.., > 4^ Copyright, 1922 Pa&mek Photoplay Corporation Los Angeles An Rights Reserved PHOTOPLAYIM»PLCHbENCYCLOPEDIA TABLE OF CONTENTS Page PREFACE 7 The purpose of this work; the law of the thirty-six dramatic situations; plan of study. Part One CHAPTER ONE 11 The importance of the situations in photoplay writing; the relation of the situations to the thirty-six human emotions; what is a dramatic situation; what is a photoplay situation ; combination of situations ; the backbone of drama. CHAPTER TWO 14 The relation of theme to the thirty-six situations; examples of dramatic themes ; characterization and its relation to the thirty-six situations. CHAPTER THREE 16 Plot interest and situations; the plot outline for combining situations; spot continuity of "The Golden Chance" ; plot logic and a way to test it. CHAPTER FOUR 20 Creative imagination ; dramatic and undramadc; the test of situations; a sum- mary of the law of the thirty-six situations. Part Two CHAPTER FIVE 25 Situations I to VI, inclusive: Supplication; Deliverance; Crime Pur- sued BY Vengeance; Vengeance Taken for Kindred Upon Kindred; Pursuit; Disaster; the subdivisions of each situation ; explanatory comment regarding the use of each situation in the photoplay. CHAPTER SIX 30 Situations VII to XII, inclusive: Falling Prey to Cruelty or Misfor- tune; Revolt; Daring Enterprise; Abduction; the Enigma; Ob- taining. CHAPTER SEVEN 34 Situations XIII to XVIII, inclusive: Enmity of Kinsmen; Rivalry of Kinsmen; Murderous Adultery; Madness; Fatal Imprudence; In- voluntary Crimes of Love. CHAPTER EIGHT , 37 Situations XIX to XXIV, inalusive: Slaying of a Kinsman Unrecog- nized; Self-Sacrifice for an Ideal; Self-Sacrifice for Kindred; All Sacrificed for a Passion; Necessity of Sacrificing Loved Ones; Riv- alry OF Superior and Infeuor. 111C301 ; PHOTOPLAY PLOT ENCYCLOPEDIA CHAPTER NINE 41 Stuations XXV to XXX, inclusive: Adultery; Crimes of Love; Discov- ery OF THE Dishonor of a Loved One ; Obstacles to Love ; An Enemy Loved; Ambition. CHAPTER TEN 46 Situations XXXI to XXXVI, inclusive: Struggle Against a God; Mis- taken Jealousy; Erroneous Judgment; Remorse; Recovery of a Lost One; Loss of Loved Ones; summary of situations. Part Three CHAPTER ELEVEN 53 Examples of Situations in Photoplays; the synopses of one hundred representative produced photoplays with constructive comment and analysis of the use of the thirty-six dramatic situations in each of them. Part Four CHAPTER TWELVE 149 The photoplay of the future popular demand ; elimination of artificiality ; the probable development of theme and characterization ; opportunities for the photodramatist. CHAPTER THIRTEEN 151 Conclusion : general advice in regard to the writing of photoplays. INDEX 153 PHOTOPLAY PLOT ENCYCLOPEDIA PREFACE supply vistas of the imagination, many of them It is the purpose of this work to untraveled by the writers of today, and the author, especially the photoplaywright, will indicate the pitfalls that are every- with a handbook of reference, which will where awaiting the unwary author. be stimulating in its suggestiveness and at nov- the same time a means whereby the This work must be regarded as a work plot idea may elty and the strength of a of reference. It is a stimulus rather than of be judged. By using the classification a formula, and at all times the writer must form- fundamental dramatic situations avoid seeking plot material ready-made for ulated by Gozzi, Schiller, Goethe, De his use. Properly assimilated and under- Polti, Nerval, and best of all by Georges stood, the work will help you to judge the to whom the present writers acknowledge worth of your own ideas, will suggest their indebtedness, we are at once simpli- ways and methods of development, and fying and widening the possible flights of will guard you against the danger of imita- imagination. And in going further, and tion and repetition. It cannot, nor can into a virgin field, with the data accum- any other book, think for you. ulated by Polti, we hope to make more It is true that all plots are combinations specific and useful the law he formulated. of situations, and that this work will deal Let us state the law in question here with the fundamental situations in a com- at the outset, that we may progress to its prehensive way and will indicate possible application and interpretation more read- and worth-while combinations. But the ily. There are only thirty-six funda- student must not come to it hoping to find mental dramatic situations, various facets plots ready to use. The real work is left of which form the basis of all human to the creative author, and only in the drama. degree that you possess creative ability and dramatic imagination the imagination, Lest this seem dogmatic, it must be — that is, that leads you to create dramatic remembered that there is nothing arbi- and to place them in interesting trary or cabalistic in the number thirty- characters conflicts with one another—can this work six. As Polti says, the number might be smaller or greater, but thirty-six seems to serve you. be the most nearly accurate. Various writ- ers on the subject have endeavored to dis- PLAN OF STUDY. cover a new situation to add to Polti's list, 1. In the following chapters, the fac- but all of their efforts have been feeble than Situation involved in writ- and ill-considered in comparison with his tors other photoplays are dealt with. This is an scholarly work. It is not the purpose of ing part of the work, and should be the present volume to add anything to the important read before proceeding further. data rediscovered and formulated by M. carefully chapters you will be cautioned Polti, but rather to carry that knowledge In these against the artificial manufacture of plots into a new field—that of the Photoplay— mechanical combinations of situations. and to give the photoplaywright a compre- as Characterization will be dis- hensive and accurate knowledge of the na- Theme and methods of evolving plots will ture of each situation that has been used in cussed, and on. In addition, a comprehen- photoplays, how it was used, whether it has be touched explanation of Situations will be been used to exhaustion in certain forms, sive made. It is therefore important that you whether it opens a new and interesting understanding every word in the line of thought to the writer, etc. In this read with chapters before proceeding. way the work will lead you into wide introductory PHOTOPLAY PLOT ENCYCLOPEDIA 2. In the subsequent chapters related the comments upon those situations, the and associated groups of Situations will be writer will readily recognize whether his taken up individually, with reference to story is hackneyed or novel, effective or the forms and phases in which they have ineffective. been used in photoplays. Examples will 4. Read slowly, intelligently, analyti- be cited of situations in photoplays cally, and you will find that your im- recently produced, and suggestive com- agination will grasp the essentials of the ments upon the effectiveness or lack of problem of situation after one reading. effectiveness in their use will be made. In Thereafter, continue your study and test studying the situations and the examples everything you write in accordance with of their use it will be well for the student the plan suggested above. to read slowly and carefully, for by the very nature of the work, a great deal of information is condensed into a brief space, Note: This work is not intended as a though it is conveyed simply and directly. complete or comprehensive study of photo- 3. Tke student should aim to famil- play writing, but simply of the funda- iarize himself in a g;eneral way with the mental thirty-six dramatic situations and contents, and thei,, after writing an orig- their use in the photoplay. This work is a inal story, should determine just which reference supplement to the Palmer Hand- situations he has used. By referring to book. PART ONE PHOTOPLAY PLOT ENCYCLOPEDIA CHAPTER I. situa- 1. Throughout all human experience, those examples we shall learn what and especially throughout all human tions have been used most frequently, and drama, one meets constantly with the same why, and what situations have been fundamental situations, arising from the ignored. Such an analysis of the use of same fundamental emotional conflicts. In situations in the photoplay will suggest one sense a situation may be considered as new combinations and new uses, and at the the crisis or the apex of an emotional con- sime time will offer a warning against flict. It has been discovered that there the repetition of certain combinations that are, fundamentally, thirty-six human emo- have been repeated in the same guise until tions, and the law of the thirty-six situa- they no longer entertain the spectator. tions is an interesting corollary of this 4. We read fiction and we go to the discovery. theatre, first of all, to be entertained. 2. The life of humanity in ancient When we read a work on philosophy or Greece or in modern America, in the science, it is for the specific purpose of frozen reaches of the North or under acquiring knowledge in the most direct tropic skies, is essentially the same.