- ments, actual and imaginary, are pleasantly stimulating.
The eyes enjoy the natural activity of their work, and we feel that there is life in the painting. But the motion picture, by its very nature, has as much life as it needs. It naturally gives the eyes all the work they can stand. Hence, if they need any stimulating change at all, it is rather the change from movement to repose.
Now let us go to the movie theater. Very likely before the show is over we shall be treated to a rapid shifting from the blue of some exterior scene in the moonlight to the orange-yellowish glow of some interior scene in lamplight. Our eyes, therefore, must accommodate their lenses to one of these colors again and again, only to receive a sudden demand for accommodation to the other color. We have no choice in the matter except to get up and go out. Our eyes, already busy enough, do not need the stimulation of any more activity, and our minds, already active enough, would prefer the relief of something more reposeful.
If the director must have this shifting from blue to orange to blue, etc., he might, at least, give us some warning, some softening of the shock, so to speak. For example, if there is to be a sudden shift from a yellowish lamp-light scene to a bluish night scene, a hint might be given by attracting our attention to a window, through which the blue of night is shown. And similarly in a bluish night scene our attention might be attracted toward the warm glow from a door or window as a warning that the next scene is to be flooded with that color. Thus in either case we would have a chance to prepare our eyes for the shift,
