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.
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THREE-DIMENSIONAL MOTION PICTURES of the wagon wheels which turn backward as the vehicle goes forward. On the strict theory of persistence of vis ion this would be impossible. It is possible only because the spokes are to the eye exactly alike and we can mistake a spoke behind in the progression of the wheel for the one we saw ahead. In other words, our mind gets a miscue because of the failure of the eye to iden tify. If our eye were so faulty as to confuse two actors we might get even more exciting results, but they would be of the same category.' 7 "It is significant here that there is some evidence that we do not all see the motion picture alike. It was a common experience, when motion pictures were less common, to undergo a process of acquiring the con ventions of screen seeing. The screen unquestionably offers a much more complete optical illusion to those who have grown accustomed to reading it. "Let us analytically consider one foot of motion picture film, occupying one second of screen time in the theater (the 16 frames, one foot per second rate is based on the old silent picture rate), and calculate just how little the eye can actually see. It will give us a clearer notion of what a will-o'-wisp this motion picture illusion is. In exposing the negative for that foot of film in the camera, sixteen seperate and distinct individual pictures or snapshots of the subject are made. Under full illumination with the camera shutter aperture cut down, just as the amateur photographer speeds up the shutter in his Kodak to reduce light, these sixteen little snapshots may be exposed as briefly as one five-hundredth part of the second. This is a medium figure, exposures as brief as a five-thousandth of a second are possible if the light is strong enough. Now with the exposure one-five-hundreth part of a second our camera's eye is open to take note of the happenings before it, for only sixteen five-hundredths of the time our foot of film is travelling through the