D. APPLETON AND COMPANY
NEW YORK LONDON
1916
| 1. THE OUTER DEVELOPMENT OF THE MOVING PICTURES | 3 |
| 2. THE INNER DEVELOPMENT OF THE MOVING PICTURES | 21 |
| 3. DEPTH AND MOVEMENT | 44 |
| 4. ATTENTION | 72 |
| 5. MEMORY AND IMAGINATION | 92 |
| 6. EMOTIONS | 112 |
| 7. THE PURPOSE OF ART | 133 |
| 8. THE MEANS OF THE VARIOUS ARTS | 155 |
| 9. THE MEANS OF THE PHOTOPLAY | 170 |
| 10. THE DEMANDS OF THE PHOTOPLAY | 191 |
| 11. THE FUNCTION OF THE PHOTOPLAY | 215 |
It is arbitrary to say where the developmentof the moving pictures began and it isimpossible to foresee where it will lead.What invention marked the beginning? Wasit the first device to introduce movement intothe pictures on a screen? Or did the developmentbegin with the first photographing ofvarious phases of moving objects? Or didit start with the first presentation of successivepictures at such a speed that the impressionof movement resulted? Or was thebirthday of the new art when the experimentersfor the first time succeeded in projectingsuch rapidly passing pictures on a wall? Ifwe think of the moving pictures as a sourceof entertainment and esthetic enjoyment, wemay see the germ in that camera obscurawhich allowed one glass slide to pass beforeanother and thus showed the railway trainon one slide moving over the bridge on theother glass plate. They were popular halfa century ago. On the other hand if theessential feature of the moving pictures isthe combination of various views into oneconnected impression, we must look back tothe days of the phenakistoscope which hadscientific interest only; it is more than eightyyears since i