Here the emphasis lies in the repetition of a pictorial element with some variety of shape and movement and under a variety of circumstances. The "mark" of Zorro becomes a sharp symbol which inscribes ever anew upon our minds the character of the hero, his dashing pursuit and lightning retribution.
Emphasis by repetition in the photoplay may further be achieved in ways which we shall not take the time to discuss. Thus an especially significant setting may be repeated in various lights and in combination with various actions; or some particular action, such as a dramatic dance, may be repeated in a variety of settings.
A sure means of emphasis is contrast. We have already shown how this principle works in cases where a moving thing is contrasted with other things which are at rest. Yet the contrast in such cases works only in one direction. That is to say, the contrast throws the attention on the motion, but it does not at the same time draw any attention to the fixed objects. It will be interesting now to illustrate a sort of double-acting contrast which may produce great emphasis in pictures. In the well-known case where a tall man stands beside a short one on a stage the difference between them is emphasized by the contrast in their statures; and when we meet them off the stage we are surprised to discover that one is not so tall, and the other not so short, as we had been led to believe. In a photograph, for a similar reason, if a very black tone is placed sharply along a very white one, each tone will make the other seem more intense. And if a painter desires to emphasize a color, say red, in his painting he does not need to do so by spreading more
