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It would not be difficult to continue Mr. Bryan's rhapsody in the same vein. Now one has no wish to allude to these things. Moreover, it is easy to set forth definitely splendid achievements on the other side of the account, restoring the statement to balance and sanity. It is the glare of rhapsodical eulogy which instinctively and automatically evokes the complementary colours and afterimages.
The afterimages were responsible for the fact that no interruptions were noticeable, while the movement itself resulted simply from the passing of one position into another. What else is the perception of movement but the seeing of a long series of different positions?
But if he faces the film world, the motion which he sees appears to be a true motion, and yet is created by his own mind. The afterimages of the successive pictures are not sufficient to produce a substitute for the continuous outer stimulation; the essential condition is rather the inner mental activity which unites the separate phases in the idea of connected action.
In the section of his Farbenlehre dealing with 'physiological colours', Goethe devotes by far the most space to the so-called 'afterimages' which appear in the eye as the result of stimulation by external light, and persist for some little time. To create such an afterimage in a simple way, one need only gaze at a brightly lit window and then at a faintly lit wall of the room.
He went hesitantly toward the door, and pushed it open. His eyes exploded into pain; automatically his hands went up to shield them. Light, light he had never known such cruelly glowing light. Even through the lids there was pain and red afterimages; but after a moment, opening them a slit, he found that he could see, and made out other doors, glass ramps, pale Lhari figures coming and going.
Just as the simple light-dark after-image shows a reversal of light-values in relation to the external picture, so in the coloured afterimages there is a quite definite and opposite relationship of their colours to those of the original picture.
The whole technique of the rapid changes of scenes which we have recognized as so characteristic of the photoplay involves at every end point elements of suggestion which to a certain degree link the separate scenes as the afterimages link the separate pictures. To picture emotions must be the central aim of the photoplay.
It shows two pictures, one on the front, one on the rear side of a card. As soon as the card is quickly revolved about a central axis, the two pictures fuse into one. If a horse is on one side and a rider on the other, if a cage is on one and a bird on the other, we see the rider on the horse and the bird in the cage. It cannot be otherwise. It is simply the result of the positive afterimages.
Then at once in the dark field of vision the positive facsimile of the window appears, woven by the activity of the blood which reproduces the outer reality. Having traced the colourless after-image to 'higher sources' that is, to the action of the blood let us now examine coloured afterimages. We need first to become conscious of the colour-creating light-activity which resides in the blood.
Compared with these negative pictures, the positive afterimages are short and they last through any noticeable time only with rather intense illumination. Yet they are evidently sufficient to bridge the interval between the two slits in the stroboscopic disk or in the zoötrope, the interval in which the black paper passes the eye and in which accordingly no new stimulus reaches the nerves.
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