The photoplay; a psychological study (1916)

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THE PHOTOPLAY like blushing or growing pale woiild be lost ia the mere pbotograpMc rendering, and, above all, these and many other signs of feel- ing are not under voluntary control. The photoactors may carefully go through the movements and imitate the contractions and relaxations of the muscles, and yet may be unable to produce those processes which are most essential for the true life emotion, namely those iu the glands, blood vessels, and involuntary muscles. Certainly the going through the motions will shade consciousness sufficiently so that Bome of these involuntary and instinctive re- sponses may set in. The actor really experi- ences something of the inner excitement which he imitates and with the excitement the automatic reactions appear. Yet only a few can actually shed tears, however much they move the muscles of the face into the sem- blance of crying. The pupil of the eye is somewhat more obedient, as the involuntary muscles of the iris respond to the cue which a strong imagination can give, and the mimic presentation of terror or astonishment or hatred may actually lead to the enlargement or contraction of the pupil, which the close- 114