Bauhaus-Universität Weimar

THE PHOTOPLAY 
But it is evident that with the exception of 
the words, no means for drawing attention 
which is effective on the theater stage is lost 
in the photoplay. All the directing influences 
which the movements of the actors exert can 
be felt no less when they are pictured in the 
films. More than that, the absence of the 
words brings the movements which we see 
to still greater prominence in our mind. Our 
whole attention can now be focused on the 
play of the face and of the hands. Every 
gesture and every mimic excitement stirs us 
now much more than if it were only the ac¬ 
companiment of speech. Moreover, the tech¬ 
nical conditions of the kinematograph show 
favor the importance of the movement. First 
the play on the screen is acted more rapidly 
than that on the stage. By the absence of 
speech everything is condensed, the whole 
rhythm is quickened, a greater pressure of 
time is applied, and through that the accents 
become sharper and the emphasis more pow¬ 
erful for the attention. But secondly the form 
of the stage intensifies the impression made 
by those who move toward the foreground. 
The theater stage is broadest near the foot¬ 
lights and becomes narrower toward the 
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