Of course, we feel the child's joy with him.

Otherwise we should not even understand his behaviour, but we feel more strongly the fear and the horror of which the child himself does not know anything.

The photoplaywrights have so far hardly ventured to project this second class of emotion, which the spectator superadds to the events, into the show on the screen.

Only tentative suggestions can be found.

The enthusiasm or the disapproval or indignation of the spectator is sometimes released in the lights and shades and in the setting of the landscape.