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208 DISSOLVES AND STOP CAMERA the spectator spends all of his time taking post-dated facts and try- ing to put them in their proper places in the plot. He has no time for appreciation of the action or enjoyment of the story. He must perform a mental card cataloguing act. Reminiscences are all very well in a home for the aged, but they should have comparatively small place on the photoplay screen. 18. There is still another angle to this abuse of effects. The effort of the author is, or should be, to suggest life—real life, and not a story about life. It should be his object to make it all seem real and convincing, to which end he should not break too frequently into the straight screen stage. A play that is made up of a mass of trick effects, of masked scenes, of vignettes, of busts and inserts held to- gether by a few scenes of natural action cannot interest as strongly as will the straightforward, natural story in which effects are sparingly used and then introduced in so natural a manner that they supply their own excuse. They belong. Unless they very evidently do be- long, leave them alone. (2.XXIV:9 XXXVII :6 XLIV:3) (4.XL :23) (5.XXXVIII :16) (6.XL:20 XLII:3&6) (12.XXV:19) (13.XXXIX :7). CHAPTER XLII DISSOLVES AND STOP-CAMERA SINCE dissolving is merely a form of double exposure, it should be understood that in this chapter double exposure refers only to those forms in which all of the film is twice exposed to the action of light and not merely one part of the film at a time. In the same way stop-camera in this chapter does not refer to all forms of picture in which the camera is stopped, but only to that form in which the camera is stopped to introduce or remove a person or object. Other forms of trick work obtained through stoppage of the camera have been described in Chapter XL. The dissolve and stop-camera, in com- bination, form the apparition or vision in the scene as opposed to the vision in the frame but apart from the scene. 2. It has already been explained that by means of the iris dia- phragm placed between the combinations of the lens, an operator is able to regulate the amount of light admitted through the lens to act upon the sensitized emulsion. The opening may be diminished to nothing or increased to the diameter of the lens mount. The larger the opening, naturally the greater amount of light admitted. We will presume that the light necessary to give a correctly timed exposure is represented by one hundred per cent. It follows that if the light is reduced by half through the closing of the diaphragm, the picture will receive but one-half of its proper quantity of light. If the diaphragm were completely closed, there would be no light whatever. 3. Should the director be making one of the fade visions written in