The Photoplay: A Psychological Study

THE OUTER DEVELOPMENT OF THE MOVING PICTURES It is arbitrary to say where the development of the moving pictures began and it is impossible to foresee where it will lead. What invention marked the beginning? Was it the first device to introduce movement into the pictures on a screen? Or did the development begin with the first photographing of various phases of moving objects? Or did it start with the first presentation of successive pictures at such a speed that the impression of movement resulted? Or was the birthday of the new art when the experimenters for the first time succeeded in projecting such rapidly passing pictures on a wall? If we think of the moving pictures as a source of entertainment and esthetic enjoyment, we may see the germ in that camera obscura which allowed one glass slide to pass before another and thus showed the railway train on one slide moving over the bridge on the other glass plate. They were popular half a century ago. On the other hand if the essential feature of the moving pictures is the combination of various views into one connected impression, we must look back to the days of the phenakistoscope which had scientific interest only; it is more than eighty years since it was invented. In America, which in most recent times has become the classical land of the moving picture production, the history may be said to begin with the days of the Chicago Exposition, 1893, when Edison exhibited his kinetoscope. The visitor dropped his nickel into a slot, the little motor started, and for half a minute he saw through the magnifying glass a girl dancing or some street boys fighting. Less than a quarter of a century later twenty thousand theaters for moving pictures are open daily in the United States and the millions get for their nickel long hours of enjoyment. In Edison's small box into which only one at a time could peep through the hole, nothing but a few trite scenes were exhibited. In those twenty thousand theaters which grew from it all human passions and emotions find their stage, and whatever history reports or science demonstrates or imagination invents comes to life on the screen of the picture palace. Yet this development from Edison's half-minute show to the "Birth of a Nation" did not proceed on American soil. That slot box, after all, had little chance for popular success. The decisive step was taken when pictures of the Edison type were for the first time thrown on a screen and thus made visible to a large audience. That step was taken 1895 in London. The moving picture theater certainly began in England. But there was one source of the stream springing up in America, which long preceded Edison: the photographic efforts of the Englishman Muybridge, who made his experiments in California as early as 1872. His aim was to have photographs of various phases of a continuous movement, for instance of the different positions which a trotting horse is passing through. His purpose was the analysis of the movement into its component parts, not the synthesis of a moving picture from such parts. Yet it is evident that this too was a necessary step which made the later triumphs possible. If we combine the scientific and the artistic efforts of the new and the old world, we may tell the history of the moving pictures by the following dates and achievements. In the year 1825 a Doctor Roget described in the "Philosophical Transactions" an interesting optical illusion of movement, resulting, for instance, when a wheel is moving along behind a fence of upright bars. The discussion was carried much further when it was taken up a few years later by a master of the craft, by Faraday. In the Journal of the Royal Institute of Great Britain he writes in 1831 "on a peculiar class of optical deceptions." He describes there a large number of subtle experiments in which cogwheels of different forms and sizes were revolving with different degrees of rapidity and in different directions. The eye saw the cogs of the moving rear wheel through the passing cogs of the front wheel. The result is the appearance of movement effects which do not correspond to an objective motion. The impression of backward movement can arise from forward motions, quick movement from slow, complete rest from combinations of movements. For the first time the impression of movement was synthetically produced from different elements. For those who fancy that the "new psychology" with its experimental analysis of psychological experiences began only in the second half of the nineteenth century or perhaps even with the foundation of the psychological laboratories, it might be enlightening to study those discussions of the early thirties