In the photoplay it is the opposite.
Have we not reached by this analysis of the close-up a point very near to that to which the study of depth perception and movement perception was leading?
We saw that the moving pictures give us the plastic world and the moving world, and that nevertheless the depth and the motion in it are not real, unlike the depth and motion of the stage.

We find now that the reality of the action in the photoplay in still another respect lacks objective independence, because it yields to our subjective play of attention.

Wherever our attention becomes focused on a special feature, the surrounding adjusts itself, eliminates everything in which we are not interested, and by the close-up heightens the vividness of that on which our mind is concentrated.

It is as if that outer world were woven into our mind and were shaped not through its own laws but by the acts of our attention..