No shade, no tint, no hue of his emotions has escaped us; we followed them as if we had heard the rejoicing and the sadness, the storm and the peace of his melodious tones.

Such imaginative settings can be only the extreme; they would not be fit for the routine play.

But, however much weaker and fainter the echo of the surroundings may be in the realistic pictures of the standard photoplay, the chances are abundant everywhere and no skillful playwright will ever disregard them entirely.

Not the portrait of the man but the picture as a whole has to be filled with emotional exuberance.
Everything so far has referred to the emotions of the persons in the play, but this cannot be sufficient.

When we were interested in attention and memory we did not ask about the act of attention and memory in the persons of the play, but in the spectator, and we recognized that these mental activities and excitements in the audience were projected into the moving pictures.