portraits of the persons and into the pictures
of the scenery and background into which the personal emotions radiate.
The fundamental principle which we recognized for all the other mental
states is accordingly no less efficient in the case of the spectator's
emotions.

The analysis of the mind of the audience must lead, however, to that
second group of emotions, those in which the spectator responds to the
scenes on the film from the standpoint of his independent affective
life. We see an overbearing pompous person who is filled with the
emotion of solemnity, and yet he awakens in us the emotion of humor. We
answer by our ridicule. We see the scoundrel who in the melodramatic
photoplay is filled with fiendish malice, and yet we do not respond by
imitating his emotion; we feel moral indignation toward his personality.
We see the laughing, rejoicing child who, while he picks the berries
from the edge of the precipice, is not aware that he must fall down if
the hero does not snatch him back at the last moment. Of course, we feel
the child's joy with him. Otherwise we should not even understand his
behaviour, but we feel more strongly the fear and the horror of which
the child himself does not know anything. The photoplaywrights have so
far hardly ventured to project this second class of emotion, which the
spectator superadds to the events, into the show on the screen. Only
tentative suggestions can be found. The enthusiasm or the disapproval
or indignation of the spectator is sometimes released in the lights and
shades and in the setting of the landscape. There are still rich
possibilities along this line. The photoplay has hardly come to its own
with regard to these secondary emotions. Here it has not emancipated
itself sufficiently from the model of the stage. Those emotions arise,
of course, in the audience of a theater too, but the dramatic stage
cannot embody them. In the opera the orchestra may symbolize them. For
the photoplay, which is not bound to the physical succession of events
but gives us only the pictorial reflection, there is an unlimited field
for the expression of these attitudes in ourselves.

But the wide expansion of this field and of the whole manifoldness of
emotional possibilities in the moving pictures is not sufficiently
characterized as long as we think only of the optical representation in
the actual outer world. The camera men of the moving pictures have
photographed the happenings of the wo