Our plastic seeing therefore depends upon this combination of
two different perspective views, and whenever we offer to the two eyes
two such one-sided views, they must be combined into the impression of
the substantial thing. The stereoscope thus illustrates clearly that the
knowledge of the flat character of pictures by no means excludes the
actual perception of depth, and the question arises whether the moving
pictures of the photoplay, in spite of our knowledge concerning the
flatness of the screen, do not give us after all the impression of
actual depth.
It may be said offhand that even the complete appearance of depth such
as the stereoscope offers would be in no way contradictory to the idea
of moving pictures. Then the photoplay would give the same plastic
impression which the real stage offers. All that would be needed is
this. When the actors play the scenes, not a single but a double camera
would have to take the pictures. Such a double camera focuses the scene
from two different points of view, corresponding to the position of the
two eyes. Both films are then to be projected on the screen at the same
time by a double projection apparatus which secures complete
correspondence of the two pictures so that in every instance the left
and the right view are overlapping on the screen.
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