The photoplay; a psychological study (1916)

Page scan 00095 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 #:
00095
Language:
English
Collection:
Books
Format:
Books
Contributor:
Cornell University Library
Sponsor:
MSN
Coordinator:
Media History Digital Library
Description:
Date Added:
July 19, 2022
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THE PHOTOPLAY stop, we fixate it, we get more of the detail in it, the lines become sharper, and while it impresses us more vividly than before the street around us has lost its vividness and clearness. If on the stage the hand movements of the actor catch our interest, we no longer look at the whole large scene, we see only the fingers of the hero clutching the revolver with which he is to commit his crime. Our attention is entirely given up to the passionate play of his hand. It becomes the central point for all our emotional responses. We do not see the hands of any other actor in the scene. Every- thing else sinks into a general vague back- ground, while that one hand shows more and more details. The more we fixate it, the more its clearness and distinctness increase. From this one point wells our emotion, and our emo- tion again concentrates our senses on this one point. It is as if this one hand were dur- ing this pulse beat of events the whole scene, and everything else had faded away. On the stage this is impossible; there nothing can really fade away. That dramatic hand must remain, after all, only the ten thousandth part of the space of the whole stage; it must 86