In Münsterberg's 1916 book The Photoplay, which mental act does each film technique (close-up, cut-back, forward glance, parallel scenes, emotional setting) stand for, and where exactly does he say so?
Münsterberg (1916, a psychologist's study, not an experiment on audiences) pairs film devices with the spectator's mental acts: the close-up 'objectifies' attention, the cut-back remembering, forward glances expectation/imagination, intertwined scenes the mind's divided interest ('omnipresence'), and scenery shaped to echo emotion. His summary principle is that film overcomes space, time and causality and follows attention, memory, imagination and emotion instead. These are 1916 theory statements, each locatable by line in the pinned text. His own vocabulary is close-up, cut-back, cut off; he never writes 'flash-forward' or 'cross-cutting'.
Münsterberg (1916, a psychologist's study, not an experiment on audiences) pairs film devices with the spectator's mental acts: the close-up 'objectifies' attention, the cut-back remembering, forward glances expectation/imagination, intertwined scenes the mind's divided interest ('omnipresence'), and scenery shaped to echo emotion. His summary principle is that film overcomes space, time and causality and follows attention, memory, imagination and emotion instead. These are 1916 theory statements, each locatable by line in the pinned text. His own vocabulary is close-up, cut-back, cut off; he never writes 'flash-forward' or 'cross-cutting'.
Curator qualifications: Device-to-mental-act mapping verified for the close-up; term counts reproduced exactly. Münsterberg's claims are a psychologist's analysis, not audience experiments.
Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.
Structured fields
{
"citations": [
{
"url": "https://www.gutenberg.org/cache/epub/15383/pg15383.txt",
"note": "The Photoplay, Ch. on attention"
}
]
}Evidence claims
- [sourced_fact] Münsterberg (1916, a psychologist's study, not an experiment on audiences) pairs film devices with the spectator's mental acts: the close-up 'objectifies' attention, the cut-back remembering, forward glances expectation/imagination, intertwined scenes the mind's divided interest ('omnipresence'), and scenery shaped to echo emotion. His summary principle is that film overcomes space, time and causality and follows attention, memory, imagination and emotion instead. These are 1916 theory statements, each locatable by line in the pinned text. His own vocabulary is close-up, cut-back, cut off; he never writes 'flash-forward' or 'cross-cutting'. · locator: The Photoplay, Ch. on attention source
Rights
| component | license | hosting | redistribution | modification | training | Evidence and notes |
|---|---|---|---|---|---|---|
| documentation | unknown | permitted | permitted | unknown | unknown | Applies to this original summary only, not to the cited sources. |