indicate that at the instant before the fall the camera has been stopped
and the actor replaced by a stuffed dummy which begins to tumble when
the movement of the film is started again. But not only dummies of the
same size can be introduced. A little model brought quite near to the
camera may take the place of the large real object at a far distance. We
see at first the real big ship and can convince ourselves of its
reality by seeing actual men climbing up the rigging. But when it comes
to the final shipwreck, the movement of the film is stopped and the
camera brought near to a little tank where a miniature model of the ship
takes up the rôle of the original and explodes and really sinks to its
two-feet-deep watery grave.

While, through this power to make impossible actions possible, unheard
of effects could be reached, all still remained in the outer framework
of the stage. The photoplay showed a performance, however rapid or
unusual, as it would go on in the outer world. An entirely new
perspective was opened when the managers of the film play introduced the
"close-up" and similar new methods. As every friend of the film knows,
the close-up is a scheme by which a particular part of the picture,
perhaps only the face of the hero or his hand or only a ring on his
finger, is greatly enlarged and replaces for an instant the whole stage.
Even the most wonderful creations, the great historical plays where
thousands fill the battlefields or the most fantastic caprices where
fairies fly over the stage, could perhaps be performed in a theater,
but this close-up leaves all stagecraft behind. Suddenly we see not
Booth himself as he seeks to assassinate the president, but only his
hand holding the revolver and the play of his excited fingers filling
the whole field of vision. We no longer see at his desk the banker who
opens the telegram, but the opened telegraphic message itself takes his
place on the screen for a few seconds, and we read it over his shoulder.