In the latest episode of Mark Cousins’s The Story of Film: An Odyssey, a TV show airing here in the UK at the moment, it was suggested that sight—the fulfillment that comes from seeing something—is one of the key underlying themes of the Hollywood films of the 1920s. More specifically, he notes that the studios briefly and tantalizingly delay the desired object. Ultimately, of course, we do see, and our wish is joyously fulfilled. In a scene in Raoul Walsh’s The Thief of Bagdad (1924), for example, we’re made to want to see the Princess (Julanne Johnston) clearly. It’s a simple and unambiguous pleasure when our desire is satisfied.