Again, the quick action, the unusual action, the repeated action, the unexpected action, the action with strong outer effect, will force itself on our mind and unbalance the mental equilibrium.
The question arises: how does the photoplay secure the needed shifting of attention?
Here, too, involuntary attention alone can be expected.
An attention which undertakes its explorations guided by preconceived ideas instead of yielding to the demands of the play would lack adjustment to its task.

We might sit through the photoplay with the voluntary intention of watching the pictures with a scientific interest in order to detect some mechanical traits of the camera, or with a practical interest, in order to look up some new fashions, or with a professional interest, in order to find out in what New England scenery these pictures of Palestine might have been photographed.

But none of these aspects has anything to do with the photoplay.

If we follow the play in a genuine attitude of theatrical interest, we must accept those cues for our attention which the playwright and the producers have prepared for us.

But there is surely no lack of means by which our mind can be influenced and directed in the rapid play of the pictures.
Of course the spoken word is lacking.