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But this cumbersome method has been fully accepted in moving picture making and the effect indeed somewhat symbolizes the appearance and disappearance of a reminiscence. This scheme naturally opens wide perspectives. The skilful photoplaywright can communicate to us long scenes and complicated developments of the past in the form of such retrospective pictures.
That restful happiness which the beautiful landscape or the harmonious life relation can furnish us in blessed instants of our struggling life is secured as a joy forever when the painter or the sculptor, the dramatist or the poet, the composer or the photoplaywright, recomposes nature and life and shows us a unity which does not lead beyond itself but is in itself perfectly harmonious.
We have asked only about the means by which the photoactor expresses his emotion, and we were naturally confined to the analysis of his bodily reactions. But while the human individual in our surroundings has hardly any other means than the bodily expressions to show his emotions and moods, the photoplaywright is certainly not bound by these limits.
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 in 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.
As soon as we give any interest to this formal aspect of the presentation, we must recognize that the photoplaywright has here possibilities to which nothing corresponds in the world of the stage. Take the case that we want to produce an effect of trembling. We might use the pictures as the camera has taken them, sixteen in a second. But in reproducing them on the screen we change their order.
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