POE, EDGAR ALLAN, 348-350, 361, 362.

Positive, 23.

POWELL, A. VAN BUREN, 363-407.

PREVOST, MARCEL, 308.

PRIBYL, JOHN F., 283-285.

Print, 23.

R

Red Cross, 3, 300.

Reel, 24.

REEVE, ARTHUR B., 193.

Reformation of Calliope, The, 352.

Register, 24, 25.

Rehearsals, 249, 250.

Release, 25.

S

SARGENT, EPES WINTHROP, 29, 77, 103, 107, 120-122, 156, 157, 165, 172, 175, 228, 242, 250, 290, 305, 332.

Scenario, 19, 25, 29, 32, 37-54, 131-203, 371-407.

Scene, 25, 144-161, 204-217, 231.

Scene-plot, 25, 32, 33, 204-217.

Script, 25, 26;
  its component parts, 29-33;
  mechanical preparation of, 55-71.

SEITZ, GEORGE B., 194.

SELIG, 2, 78, 129, 189, 190, 283-285.

Sequence in the action, 135-137.

Serials, 26, 193.

Set, 26, 204-217.

Setting, 26, 166, 204-217.

Short Story, The, 74, 87, 90.

Short-Story Writing, 28.

Situation, 26, 27.

Split reel:  See “Reel.”

Stage, 27, 245-254.

Stock people, 27.

Stop-camera work, 176-181.

STORY, WALTER, 283-285.

Strand Magazine, 352, 354.

STRINGER, ARTHUR, 184, 185.

Struggle, 89.

Studio, 27.

Subject, 28.

Sub-title:  See “Leader.”

SULLIVAN, C. GARDNER, 127.

Sun, New York, 304.

Sun, Sand and Solitude, 82.

Superba, 326.

Super-imposure:  See “Double exposure.”

Suspense, 137-140, 157, 195.

Swell Miss Fitzwell, The, 325.

Synopsis, 31, 35-37, 87-109, 365-370.

T

Tale of Two Cities, A, 185-187.

Technique of the Photoplay, The, 165, 242.

THANHOUSER, 272.

Themes, desirable, 304-323;
  undesirable, 282-303.

Thirteenth Man, The, 353.

THOMAS, A.W., 288.

Three Friends, 153, 201.

Tinting, 28.

Title, 28, 72-86.

TREMAYNE, W.A., 129.

TRIANGLE, 79, 127.

Trite themes, 296-300.

Typewriting, 59-70.

U

UNIVERSAL, 34, 127, 297.

V

VERNE, JULES, 311.

Visions, 28, 176-181.

Visualization, 132, 133.

VITAGRAPH, 106, 107, 129, 171, 172, 184, 185, 277, 278, 297, 302, 350, 363.

W