The photoplay; a psychological study (1916)

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 #:
00064
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.

DEPTH AND MOVEMENT sit in front of the screen at a definite distance. We ought to sit where we see the objects in the picture at the same angle at which the camera photographed the originals. If we are too near or too far or too much to one side, we perceive the plastic scene from a viewpoint which would demand an entirely different perspective than that which the camera fixated. In motionless pictures this is less disturbing; in moving pictures every new movement to or from the background must remind us of the apparent distortion. More- over, the size and the frame and the whole setting strongly remind us of the unreality of the perceived space. But the chief point re- mains that we see the whole picture with both eyes and not with only one, and that we are constantly reminded of the flatness of the pic- ture because the two eyes receive identical impressions. And we may add an argument nearly related to it, namely, that the screen as such is an object of our perception and de- mands an adaptation of the eye and an in- dependent localization. We are drawn into this conflict of perception even when we look into a mirror. If we stand three feet from a large mirror on the wall, we see our reflection 65