ABSTRACT
To picture emotions must be the central aim of the photoplay. In the drama, words of wisdom may be spoken, and we may listen to the conversations with interest even if they have only intellectual and not emotional character. But the actor whom we see on the screen can hold our attention only by what he is doing, and his actions gain meaning and unity for us through the feelings and emotions which control them. More than in the drama, the persons in the photoplay are to us, first of all, subjects of emotional experiences. Their joy and pain, their hope and fear, their love and hate, their gratitude and envy, their sympathy and malice, give meaning and value to the play. What are the chances of the photoartist to bring these feelings to a convincing expression?
