William Joseph Lincoln (1870 – 18 August 1917) was an Australian playwright, theatre manager, film director and screenwriter in the silent era.

[2] Another obituary echoed these sentiments, adding that: His faith in the possibilities of Australia as a centre of' activity in moving picture production was unbounded, and for many years past he had devoted his energies chiefly to the realisation of this conviction.

In common with others with whom he was at different periods associated in the making of film stories, -Mr Lincoln's work was carried on under conditions that might well have daunted the most sanguine.

That he made admirable use of the materials that lay to his hand is generally admitted, and in some of his earlier productions he achieved a technical standard that was little if at all inferior to the output of the overseas studios at that time.

[6] This play would later be rewritten by Alfred Dampier, a version which premiered in 1901 and became very successful over the following decade, being adapted into the popular film Captain Midnight, the Bush King (1911).

[16][17] Lincoln made his film debut as director and writer with It Is Never Too Late to Mend (1911), based on a popular play and novel, for the Tait brothers.

They appointed him director of their new company, Amalgamated Pictures, for whom he made nine films over the next year most based on play adaptations of a novel: The Mystery of a Hansom Cab (1911), The Luck of Roaring Camp (1911), Called Back (1911), The Lost Chord (1911), The Bells (1911), The Double Event (1911), After Sundown (1911) (based on Lincolns own play, but the film was not commercially released), Breaking the News (1911) and Rip Van Winkle (1912).

In later writing about these films Lincoln said "I am... in a somewhat awkward position in appraising their merits, but in justice to those who assisted in these productions, I may say that their work under discouraging conditions, Is entitled to the highest commendation.

"[15] A writer said of It Is Never Too Late to Mend, Mystery of the Hansom Cab and Called Back that "They were very cheaply produced (the cost per film was between £300 and £400), and Johnson and Gibson must have done well out of them, although they were not first-class.

"[19] Another article wrote Lincoln "had an undoubted capacity for .writing scenarios, and he had an excellent dramatic company, so that he produced quite a number of photo-plays.

[23] Mary Bateman says around this time that "It is logical, given Lincoln's film experience and undoubted talent as a writer and producer, and his knowledge, that there was no outlet for his creative ability within his present position.

[24][25] According to a contemporary report "Mr. Lincoln has the literary taste, the business qualifications, and wide experience as a showman to justify him in taking this step.

These were The Sick Stockrider (1913), based on the poem by Adam Lindsay Gordon, The Remittance Man, Transported, The Road to Ruin (1913), The Crisis (1913), and The Reprieve (1913).

He is contemplating spending a few weeks at one of the mountain resorts, and while there will looks over, manuscripts of some big film, factories which are under consideration for future production.

In the early years of moving picture development, as a medium for dramatic expression, Mr. Lincoln achieved success as a maker of photodramas.

Undaunted by the-fact that studio facilities were confined to improvisations of one sort and another, that practical experience was only to be acquired by spending money and risking failure, he stuck to his work, and secured results that, were the more to be commended in that they were obtained under such' discouraging conditions.

[35]Lincoln's Bulletin obituary said his best films were The Sick Stockrider, After Sundown, Le Revanche, The Bells and Adam Lindsay Gordon.