were during this pulse beat of events the whole scene, and everything
else had faded away. On the stage this is impossible; there nothing can
really fade away. That dramatic hand must remain, after all, only the
ten thousandth part of the space of the whole stage; it must remain a
little detail. The whole body of the hero and the other men and the
whole room and every indifferent chair and table in it must go on
obtruding themselves on our senses. What we do not attend cannot be
suddenly removed from the stage. Every change which is needed must be
secured by our own mind. In our consciousness the attended hand must
grow and the surrounding room must blur. But the stage cannot help us.
The art of the theater has there its limits.

Here begins the art of the photoplay. That one nervous hand which
feverishly grasps the deadly weapon can suddenly for the space of a
breath or two become enlarged and be alone visible on the screen, while
everything else has really faded into darkness. The act of attention
which goes on in our mind has remodeled the surrounding itself. The
detail which is being watched has suddenly become the whole content of
the performance, and everything which our mind wants to disregard has
been suddenly banished from our sight and has disappeared. The events
without have become obedient to the demands of our consciousness. In the
language of the photoplay producers it is a "close-up." _The close-up
has objectified in our world of perception our mental act of attention
and by it has furnished art with a means which far transcends the power
of any theater stage._

The scheme of the close-up was introduced into the technique of the film
play rather late, but it has quickly gained a secure position. The more
elaborate the production, the more frequent and the more skillful the
use of this new and artistic means. The melodrama can hardly be played