It is obvious that for this leading group of emotions the relation of the pictures to the feelings of the persons in the play and to the feelings of the spectator is exactly the same.

If we start from the emotions of the audience, we can say that the pain and the joy which the spectator feels are really projected to the screen, projected both into the portraits of the persons and into the pictures of the scenery and background into which the personal emotions radiate.
The fundamental principle which we recognized for all the other mental states is accordingly no less efficient in the case of the spectator's emotions.
The analysis of the mind of the audience must lead, however, to that second group of emotions, those in which the spectator responds to the scenes on the film from the standpoint of his independent affective life.

We see an overbearing pompous person who is filled with the emotion of solemnity, and yet he awakens in us the emotion of humor.

We answer by our ridicule.

We see the scoundrel who in the melodramatic photoplay is filled with fiendish malice, and yet we do not respond by imitating his emotion; we feel moral indignation toward his personality.
We see the laughing, rejoicing child who, while he picks the berries from the edge of the precipice, is not aware that he must fall down if the hero does not snatch him back at the last moment.