The photoplay; a psychological study (1916)

Record Details:

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.

EMOTIONS into tlie moving pictures. Just here was the center of our interest, because it showed that uniqueness of the means with which the photoplaywright can work. If we want to shape the question now ia the same way, we ought to ask how it is with the emotions of the spectator. But then two different groups of cases must be distinguished. On the one side we have those emotions in which the feelings of the persons in the play are transmitted to our own soul. On the other side, we find those feelings with which we respond to the scenes in the play, feelings which may be entirely different, perhaps exactly opposite to those which the figures in the play express. The first group is by far the larger one. Our imitation of the emotions which we see expressed brings vividness and affective tone into our grasping of the play's action. "We sympathize with the sufferer and that means that the pain which he expresses becomes our own pain. We share the joy of the happy lover and the grief of the despondent mourn- er, we feel the indignation of the betrayed wife and the fear of the man in danger. The visual perception of the various forms of ex- pression of these emotions fuses in our mind 9 133