When the film is developed and a print made for exhibition, it is run through the projecting machine of a theater: if it were run at the rate of a foot a second, sixty feet a minute, the figures on the screen would move just as fast as they did in real life when the picture was taken—no faster and no slower. But the custom has grown up of running film through the projecting machines faster than the film was run through the camera. Instead of being run sixty feet a minute, it is usually clicked along at the rate of seventy feet or more a minute. Seventy-two feet or more a minute is called “normal speed” for projection. So that on the screen everything happens about one-fifth faster than it did in real life, and frequently even faster than that—much faster, since more and more there is a tendency to “speed up” still further, until the feet of marching men in the news reels almost dance along the street, and their knees snap back and forth like mad. Of course, you see more in a minute, watching in a theater where film is run through the projection machine so fast—but what you see is distorted, instead of being quite so much of the real thing, as would be the case if it were run more slowly. Probably on the whole it would be better if the convention of “speeding up” the projection machines were done away with, and all film ordinarily run at only the actual speed of real life—except where there happened to be some special reason for hurrying it along. Then—the other way of making things happen on the screen faster than they do in real life. For instance, when one automobile is chasing another, and turns a corner so fast it almost makes you jump out of your seat—the hind wheels slewing around so dizzily it seems as though the whole thing would surely go in the ditch.