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 #:
00079
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 are conscious of the interruptions between the various phases of movement. We come to the consequences. What is then the difference between seeing motion in the photoplay and seeing it on the real stage? There on the stage where the actors move the eye really receives a continuous series. Each position goes over into the next without any interruption. The spectator receives every- thing from without and the whole movement which he sees is actually going on in the world of space without and accordingly in his eye. But if he faces the film world, the mo- tion which he sees appears to he a true mo- tion, and yet is created by Ms own mind. The afterimages of the successive pictures are not sufficient to produce a substitute for the con- tinuous outer stimulation; the essential con- dition is rather the inner mental activity which unites the separate phases in the idea of connected action. Thus we have reached the exact counterpart of our results when we analyzed the perception of depth. We see ac- tual depth in the pictures, and yet we are every instant aware that it is not real depth and that the persons are not really plastic. It is only a suggestion of depth, a depth 70