The photoplay; a psychological study (1916)

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THE PHOTOPLAY country village of his youtH fills the back- ground, the harvest is brought from the fields, the sun sets upon a scene of happiness, and while the bow slowly sinks, the walls and ceiling of his attic close in agaia. No shade, no tint, no hue of his emotions has escaped us; we followed them as if we had heard the rejoicing and the sadness, the storm and the peace of his melodious tones. Such imagina- tive settings can be only the extreme; theyj would not be fit for the routine play. But, however much weaker and fainter the echo of the surroundings may be in the realistic pic- tures of the standard photoplay, the chances are abundant everywhere and no skillful play- wright will ever disregard them entirely. Not the portrait of the man but the picture as a whole has to be filled with emotional exuber- ance. Everything so far has referred to the emo- tions of the persons in the play, but this can- not be sufficient. When we were interested in attention and memory we did not ask about the act of attention and memory in the per- sons of the play, but in the spectator, and we recognized that these mental activities and excitements in the audience were projected 122