  Münsterberg went on to ask how viewers are able to understand the role that these technical devices play in the articulation of cinematic narratives. His answer is that these devices are all objectifications of mental processes. A close-up, for example, presents in visual form a correlate to the mental act of paying attention to something. Viewers naturally understand how such cinematic devices function because they are familiar with the workings of their own minds and can recognize these objectified mental functions when they see them. Although this aspect of Münsterberg's theory links him to contemporary cognitive philosophers of film, he does not explain how viewers know that what they are looking at are objectified mental functions.