The photoplay; a psychological study (1916)

Page scan 00066 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 #:
00066
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 a peculiar complex state; and we shall see that this plays a not unimportant part in the mental make-up of the whole photoplay. While the problem of depth in the film pic- ture is easily ignored, the problem of move- ment forces itself on every spectator. It seems as if here the really essential trait of the film performance is to be found, and that the explanation of the motion in the pictures is the chief task which the psychologist must meet. "We know that any single picture which the film of the photographer has fixed is im- movable. We know, furthermore, that we do not see the passing by of the long strip of film. We know that it is rolled from one roll and rolled up on another, but that this movement from picture to picture is not visible. It goes on while the field is darkened. What objec- tively reaches our eye is one motionless pic- ture after another, but the replacing of one by another through a forward movement of the film cannot reach our eye at all. Why do we, nevertheless, see a continuous movement? The problem did not arise with the kineto- scope only but had interested the preceding generations who amused themselves with the phenakistoscope and the stroboscopic disks 57