The photoplayer, with the rapid changes of scenes, has other possibilities of conveying his intentions.

He must not yield to the temptation to play a pantomime on the screen, or he will seriously injure the artistic quality of the reel.
The really decisive distance from bodily reality, however, is created by the substitution of the actor's picture for the actor himself.

Lights and shades replace the manifoldness of color effects and mere perspective must furnish the suggestion of depth.

We traced it when we discussed the psychology of kinematoscopic perception.

But we must not put the emphasis on the wrong point.