th emotional
exuberance.

Everything so far has referred to the emotions of the persons in the
play, but this cannot be sufficient. When we were interested in
attention and memory we did not ask about the act of attention and
memory in the persons of the play, but in the spectator, and we
recognized that these mental activities and excitements in the audience
were projected into the moving pictures. 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.
On the one side we have those emotions in which the feelings of the
persons in the play are transmitted to our own soul. On the other side,
we find those feelings with which we respond to the scenes in the play,
feelings which may be entirely different, perhaps exactly opposite to
those which the figures in the play express.

The first group is by far the larger one. Our imitation of the emotions
which we see expressed brings vividness and affective tone into our
grasping of the play's action. We sympathize with the sufferer and that
means that the pain which he expresses becomes our own pain. We share
the joy of the happy lover and the grief of the despondent mourner, we
feel the indignation of the betrayed wife and the fear of the man in
danger. The visual perception of the various forms of expression of
these emotions fuses in our mind with the conscious awareness of the
emotion expressed; we feel as if we were directly seeing and observing
the emotion itself. Moreover the idea awakens in us the appropriate
reactions. The horror which we see makes us really shrink, the happiness
which we witness makes us relax, the pain which we observe brings
contractions in our muscles; and all the resulting sensations from
muscles, joints, tendons, from skin and viscera, from blood circulation
and breathing, give the color of living experience to the emotional
reflection in our mind. It is obvious that for this leading group of
emotions the relation of the pictures to the feelings of the persons in
the play and to the feelings of the spectator is exactly the same. If we
start from the emotions of the audience, we can say that the pain and
the joy which the spectator feels are really projected to the screen,
projected both into the