 A somewhat obvious way in which mental imagery plays a role in our engagement with visual arts follows from the simple fact that most pictorial art does not normally encompass the entire visual field. So those parts of the depicted scene that fall outside the frame, could be, and very often are, represented by means of mental imagery. One famous example would be Edgar Degas, who likes to place the protagonists of his paintings in a way that only parts of them are inside the frame. The rest we need to complete by means of mental imagery. In some extreme cases (e.g., Dancers climbing the stairs, 1886–1890, Musee D’Orsay), we only see someone’s arm or the top of their head and we need to complete those parts of her body that are outside the frame by means of mental imagery. Another example is Buster Keaton, who also uses the viewer’s mental imagery of the off-screen space in his films, but normally for comical effects. One example is the first shot of his short film Cops (1922), where we see the protagonist in close up behind bars and looking depressed. The second shot reveals that he is behind an iron gate talking to a girl who does not love him back (see Burch 1973, pp. 17–31 for more examples of this kind).