Strictly speaking, the photodrama is not governed by the so-called Dramatic Unities, restricting dramatic operation to a single Time, Place and Action. For the photodrama, thru the latitude permitted in its multitudinous scenes, may cover continents and span generations. The old order remains unchanged in the matter of Action—there can be but one Action. There is an axiom in drama, however, that applies equally to spoken drama and to screen drama: The nearer a play approximates the actual time consumed in a definite, continuous and centered story that it represents, the more convincing is its effect likely to be. In other words, if the consumation of a deed required exactly fifty minutes in actuality and took fifty minutes to be acted, it would be a perfect unity in point of time. But how rare it is to conceive a deed, every consecutive second of which is dramatically worth while!
Finally we come to the harmonious element that appears first on the manuscript, but is conceived wisely last—the Title. The title must fit the play like a glove, and hide its complete nature as tho it were a glove.
Fortunately, photoplays are not chosen—by either public or producers—because of their titles, as books and short stories are often selected. Yet, because of the seeming lack of importance attached to this part of the play, writers, editors and manufacturers do not always accord it the important place it deserves, and will eventually demand. Good, fitting and perfect titles to plays are a distinct commercial asset, beside being a requisite to artistic and harmonious completeness. The title is the head, the handle, the greeting, the introduction, the pleasing personality, the cue and the bid to favor of the as-yet unread manuscript and the as-yet unseen play. A title should be exquisite—like a finely-carved casket, obviously containing a precious treasure—its exterior suggesting mystery, wonder, and delight that must follow its revealment. The title must suggest the individuality of the play without revealing its identity as shown thru development, climax and denouement.
Unity we may find if we look for it; Harmony cannot be discovered by the keenest critic, for it is not hand-made but born. When the flesh and form of the play is perfectly built, Harmony enters in a breath—it is the soul of the play! Harmony is the last word of drama!
PART IV
FORMS AND TYPES OF THE
PHOTOPLAY
Above all things Drama is human—it has its hours for laughing and weeping, for strife and death; it is governed by both free will and destiny—it calls its moods Drama and Melodrama; Comedy and Tragedy.
CHAPTER I
DRAMA AND MELODRAMA; TRAGEDY; COMEDY; OTHER FORMS; “SPLIT REEL”; SHORT PLAY; LONG PLAY; SPECTACLE; ADAPTATIONS; PLAY DIVISIONS.