But we know from the theater that movement is not the only condition
which makes us focus our interest on a particular element of the play.
An unusual face, a queer dress, a gorgeous costume or a surprising lack
of costume, a quaint piece of decoration, may attract our mind and even
hold it spellbound for a while. Such means can not only be used but can
be carried to a much stronger climax of efficiency by the unlimited
means of the moving pictures. This is still more true of the power of
setting or background. The painted landscape of the stage can hardly
compete with the wonders of nature and culture when the scene of the
photoplay is laid in the supreme landscapes of the world. Wide vistas
are opened, the woods and the streams, the mountain valleys and the
ocean, are before us with the whole strength of reality; and yet in
rapid change which does not allow the attention to become fatigued.

Finally the mere formal arrangement of the succeeding pictures may keep
our attention in control, and here again are possibilities which are
superior to those of the solid theater stage. At the theater no effect
of formal arrangement can give exactly the same impression to the
spectators in every part of the house. The perspective of the wings and
the other settings and their relation to the persons and to the
background can never appear alike from the front and from the rear, from
the left and from the right side, from the orchestra and from the
balcony, while the picture which the camera has fixated is the same
from every corner of the picture palace. The greatest skill and
refinement can be applied to make the composition serviceable to the
needs of attention. The spectator may not and ought not to be aware that
the lines of the background, the hangings of the room, the curves of the
furniture, the branches of the trees, the forms of the mountains, help
to point toward the figure of the woman who is to hold his mind. The
shading of the lights, the patches of dark shadows, the vagueness of