the spirit of the play, our attention is constantly drawn in accordance
with the intentions of the producers.

Surely the theater has no lack of means to draw this involuntary
attention to any important point. To begin with, the actor who speaks
holds our attention more strongly than the actors who at that time are
silent. Yet the contents of the words may direct our interest to anybody
else on the stage. We watch him whom the words accuse, or betray or
delight. But the mere interest springing from words cannot in the least
explain that constantly shifting action of our involuntary attention
during a theater performance. The movements of the actors are essential.
The pantomime without words can take the place of the drama and still
appeal to us with overwhelming power. The actor who comes to the
foreground of the stage is at once in the foreground of our
consciousness. He who lifts his arm while the others stand quiet has
gained our attention. Above all, every gesture, every play of the
features, brings order and rhythm into the manifoldness of the
impressions and organizes them for our mind. Again, the quick action,
the unusual action, the repeated action, the unexpected action, the
action with strong outer effect, will force itself on our mind and
unbalance the mental equilibrium.

The question arises: how does the photoplay secure the needed shifting
of attention? Here, too, involuntary attention alone can be expected.
An attention which undertakes its explorations guided by preconceived
ideas instead of yielding to the demands of the play would lack
adjustment to its task. We might sit through the photoplay with the
voluntary intention of watching the pictures with a scientific interest
in order to detect some mechanical traits of the camera, or with a
practical interest, in order to look up some new fashions, or with a