CONTENTS
Chapter I PUTTING ON A PHOTOPLAY II DO THE PHOTOPLAYERS HAVE AN UNDERSTUDY? III EYESIGHT DAMAGE CAUSED THROUGH THE MOTION PICTURE ARCS IV DO THE PLAYERS DRINK INTOXICANTS IN MOTION PICTURES? V THOSE TROUBLESOME CHILD PLAYERS VI HIRING PLAYERS FREE FOR THE MOVIES VII MOVIE STARS WHO RISK THEIR LIVES FOR REALISTIC FILMS VIII MOTION PICTURE MAKING TOWNS AND ESTATES IX UTILISING COUNTRY ESTATES FOR MOTION PICTURE PLAYS X HOW RAILROAD PHOTOPLAYS ARE MADE XI PUTTING THE THRILLS IN RAILROAD MOVIE DRAMAS XII MAKING MARINE DRAMAS FOR THE MOVIES XIII HOW FIRE FILMS ARE TAKEN XIV USING AUTOS IN THE MOVIES XV UNDERGROUND WITH A MOVIE CAMERA XVI AVIATION IN THE MOVIES XVII FILMING EARTHQUAKES -- BEFORE AND AFTER XVIII PRODUCING A BIBLICAL MOTION PICTURE XIX CONTROLLING WILD ANIMALS ON THE FILM XX WHY NAVAL MOVIES ARE SO SCARCE XXI PRESENTING CAFES AND HOTELS IN MOTION PICTURES XXII THE DANGERS OF EMPLOYING REDSKINS AS MOVIE ACTORS XXIII MUSICAL MATTERS IN MOTION PICTURE PRODUCING XXIV HOW TRICK PHOTOPLAYS ARE PRODUCED XXV "REEL" MONEY MATTERS XXVI THE IRREGULARS OF FILMDOM XXVII TAKING EXTERIORS BY NIGHT XXVIII EXPLORING BY MOTION PICTURES XXIX HOW MICROBES AND INSECTS ARE "CAPTURED" FOR THE MOTION PICTURES XXX THE OBSTACLES ENCOUNTERED IN FILMING ROYALTIES XXXI FLORICULTURE BY MOTION PICTURES XXXII WHAT MOVIE CAMERA OPERATORS HAVE TO UNDERGO XXXIII TAKING THE ANIMATED NEWSPAPER XXXIV MAKING CARTOONS FOR THE MOVIES XXXV TAKING FILMS UNDER SEA XXXVI THE MOVIE SOLDIER AND HIS WORK XXXVII WAGING A MOVIE BATTLE ON THE EUROPEAN WARRING POWERS XXXVIII THE MOVIE FIRING LINE IN ENGLAND XXXIX THE PRACTICAL SIDE OF FILMING THE EUROPEAN WAR XL IN A FILM FACTORY Ads END OF BOOK ADVERTISEMENTS
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