The photoplay; a psychological study (1916)

Page scan 000101 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 #:
000101
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.

CHAPTER V MEMORY AND IMAGINATIOST. When we sit in a real theater and see the stage with its depth and watch the actors moving and turn our attention hither and thither, we feel that those impressions from behind the footlights have objective charac- ter, while the action of our attention is sub- jective. Those men and things come from without but the play of the attention starts from within. Yet our attention, as we have seen, does not really add anything to the im- pressions of the stage. It makes some more vivid and clear while others become vague or fade away, but through the attention alone no content enters our consciousness. Wher- ever our attention may wander on the stage, whatever we experience comes to us through the channels of our senses. The spectator in the audience, however, does experience more 93