We have analyzed the mental functions which are most powerful in the audience of the photoplay.  We studied the mere act of perceiving the pictures on the screen, of perceiving their apparently plastic character, their depth, and their apparent movements.  We turned then to those psychical acts by which we respond to the perceived impressions.  In the foreground stood the act of attention, but then we followed the play of associations, of memory, of imagination, of suggestion, and, most important of all, we traced the distribution of interest.  Finally we spoke of the feelings and emotions with which we accompany the play.  Certainly all this does not exhaust the mental reactions which arise in our mind when we witness a drama of the film.  We have not spoken, for instance, of the action which the plot of the story or its social background may start in our soul.  The suffering of the poor, the injustice by which the weak may be forced into the path of crime, and a hundred other social motives may be impressed on us by the photoplay; thoughts about human society, about laws and reforms, about human differences and human fates, may fill our mind.  Yet this is not one of the characteristic functions of the moving pictures.  It is a side effect which may set in just as it may result from reading the newspapers or from hearing of practical affairs in life.  But in all our discussions we have also left out another mental process, namely, esthetic emotion.  We did speak about the emotions which the plot of the play stirs up.  We discussed the feelings in which we sympathize with the characters of the scene, in which we share their suffering and their joy; and we also spoke about that other group of emotions by which we take a mental attitude toward the behaviour of the persons in the play.  But there is surely a third group of feelings and emotions which we have not yet considered, namely, those of our joy in the play, our esthetic satisfaction or dissatisfaction.  We have omitted them intentionally, because the study of this group of feelings involves a discussion of the esthetic process as such, and we have left all the esthetic problems for this second part of our investigation.

If we disregard this pleasure or displeasure in the beauty of the photoplay and reflect only on the processes of perception, attention, interest, memory, imagination, suggestion, and emotion which we have analyzed, we see that we everywhere come to the same result.  One general principle seemed to control the whole mental mechanism of the spectator, or rather the relation between the mental mechanism and the pictures on the screen.  We recognized that in every case the objective world of outer events had been shaped and molded until it became adjusted to the subjective movements of the mind.  The mind develops memory ideas and imaginative ideas; in the moving pictures they become reality.  The mind concentrates itself on a special detail in its act of attention; and in the close-up