What does Phillips (1914) mean by calling the photoplay a 'now' play, and which writing habits does he rule out because of it (told-not-shown events, a story within a story, backward turns, time lapses, past tense)?
1914 practice (Phillips): the photoplay is a 'now' play, so show the deed through consecutive action. He rules out telling by captions and inserts (skipping the climactic situations), the story within a story, and visualising a speech or a trial instead of showing events in order, and he asks for the present tense in synopsis and scenario and few long time lapses. Stated reasons are that audiences go to see a deed, that a story within a story breaks the thread and makes an anti-climax, and that turning backward violates a natural law; he allows rare exceptions and keeps captions for past and future statements. The examples are his illustrations, not measurements.
1914 practice (Phillips): the photoplay is a 'now' play, so show the deed through consecutive action. He rules out telling by captions and inserts (skipping the climactic situations), the story within a story, and visualising a speech or a trial instead of showing events in order, and he asks for the present tense in synopsis and scenario and few long time lapses. Stated reasons are that audiences go to see a deed, that a story within a story breaks the thread and makes an anti-climax, and that turning backward violates a natural law; he allows rare exceptions and keeps captions for past and future statements. The examples are his illustrations, not measurements.
Curator qualifications: 'Now' element: present-tense action, rare backward turns; Return is a revisit, not a flashback ban on parallel action.
Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.
Structured fields
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"url": "https://www.gutenberg.org/cache/epub/70937/pg70937.txt",
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- [sourced_fact] 1914 practice (Phillips): the photoplay is a 'now' play, so show the deed through consecutive action. He rules out telling by captions and inserts (skipping the climactic situations), the story within a story, and visualising a speech or a trial instead of showing events in order, and he asks for the present tense in synopsis and scenario and few long time lapses. Stated reasons are that audiences go to see a deed, that a story within a story breaks the thread and makes an anti-climax, and that turning backward violates a natural law; he allows rare exceptions and keeps captions for past and future statements. The examples are his illustrations, not measurements. · locator: candidate evidence excerpts 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. |