What does Phillips (1914) require for entrances and exits between scenes, what does he mean by the 'scene principle' (reflective power) and by 'every camera shift is a new scene', and what reasons does he give?
1914 practice (Phillips): a character who appears in the next scene is shown leaving the present one and arriving in the next, without the steps in between (unless something happens en route); an intervening scene without the character lets exit and entrance be omitted. The new scene is shown first and the character met at the door, optionally after a fragment of action. The scene principle is reflective power: each scene reacts to the previous and sets off the next toward the climax. A new scene is counted at every camera shift. Reasons given are natural movement, naturalness, illusion and (for identity) the speed of scene flow.
1914 practice (Phillips): a character who appears in the next scene is shown leaving the present one and arriving in the next, without the steps in between (unless something happens en route); an intervening scene without the character lets exit and entrance be omitted. The new scene is shown first and the character met at the door, optionally after a fragment of action. The scene principle is reflective power: each scene reacts to the previous and sets off the next toward the climax. A new scene is counted at every camera shift. Reasons given are natural movement, naturalness, illusion and (for identity) the speed of scene flow.
Curator qualifications: Every camera shift is a new scene (Phillips); Baker counts by set change: units not comparable.
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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"citations": [
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"url": "https://www.gutenberg.org/cache/epub/70937/pg70937.txt",
"note": "candidate evidence excerpts"
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}Evidence claims
- [sourced_fact] 1914 practice (Phillips): a character who appears in the next scene is shown leaving the present one and arriving in the next, without the steps in between (unless something happens en route); an intervening scene without the character lets exit and entrance be omitted. The new scene is shown first and the character met at the door, optionally after a fragment of action. The scene principle is reflective power: each scene reacts to the previous and sets off the next toward the climax. A new scene is counted at every camera shift. Reasons given are natural movement, naturalness, illusion and (for identity) the speed of scene flow. · locator: candidate evidence excerpts source
Rights
| component | license | hosting | redistribution | modification | training | Evidence and notes |
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