The photoplay; a psychological study (1916)

Page scan 00057 from The photoplay; a psychological study

Record Details:

Title:
The photoplay; a psychological study
Date:
1916
Publisher:
New York [etc.] D. Appleton and company
Volume:
The photoplay; a psychological study
Leaf #:
00057
Language:
English
Collection:
Books
Format:
Books
Contributor:
Cornell University Library
Sponsor:
MSN
Coordinator:
Media History Digital Library
Description:
Date Added:
July 19, 2022
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

THE PHOTOPLAY must be combined into the impression of the substantial thing. The stereoscope thus illus- trates clearly that the knowledge of the flat character of pictures by no means excludes the actual perception of depth, and the ques- tion arises whether the moving pictures of the photoplay, in spite of our knowledge concern- ing the flatness of the screen, do not give us after all the impression of actual depth. It may be said offhand that even the com- plete appearance of depth such as the stereo- scope offers would be in no way contradictory to the idea of moving pictures. Then the pho- toplay would give the same plastic impression which the real stage offers. All that would be needed is this. When the actors play the scenes, not a single but a double camera would have to take the pictures. Such a dou- ble camera focuses the scene from two differ- ent points of view, corresponding to the posi- tion of the two eyes. Both films are then to be projected on the screen at the same time by a double projection apparatus which se- cures complete correspondence of the two pic- tures so that in every instance the left and the right view are overlapping on the screen. This would give, of course, a chaotic, blurring 48