For the photoplay, which is not bound to the physical succession of events but gives us only the pictorial reflection, there is an unlimited field for the expression of these attitudes in ourselves.
But the wide expansion of this field and of the whole manifoldness of emotional possibilities in the moving pictures is not sufficiently characterized as long as we think only of the optical representation in the actual outer world.

The camera men of the moving pictures have photographed the happenings of the world and all its wonders, have gone to the bottom of the sea and up to the clouds; they have surprised the beasts in the jungles and in the Arctic ice; they have dwelt with the lowest races and have captured the greatest men of our time: and they are always haunted by the fear that the supply of new sensations may be exhausted.

Curiously enough, they have so far ignored the fact that an inexhaustible wealth of new impressions is at their disposal, which has hardly been touched as yet.

There is a material and a formal side to the pictures which we see in their rapid succession.

The material side is controlled by the content of what is shown to us.