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In Sargent Ch. XLIX, which statements are claims, which are examples, which are market assertions and which are named failure modes, and how does he line up with Phillips, Lubbock and Münsterberg (by candidate ID)?

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Claims: adaptation is hard; know the characters; do not alter the author's plot; transfer, do not change. Examples: Mary/Jim, Reginald/Venice, Uncle Tom, Spartacus, the marble-statue vandals, the photographer. Market assertions: staff do the adapting; nothing gained buying adaptations; studios watch copyright expiry. Named failure modes: adaptors who flatten originality, substitute their own ideas, make all scripts alike, make a hero a "strutting fool", over-explain (two reels of explanation), mistake narration for plot, and trigger cascading changes. Against the named offers: Phillips has no adaptation passage in his chapter body (C3-B252-S70-05); Lubbock's inner-life method (C3-B276-S87, C3-B278-S88) and Münsterberg's stage-versus-screen argument (C3-B260-S75) have no counterpart in Ch. XLIX beyond show-not-tell for stated facts.

Claims: adaptation is hard; know the characters; do not alter the author's plot; transfer, do not change. Examples: Mary/Jim, Reginald/Venice, Uncle Tom, Spartacus, the marble-statue vandals, the photographer. Market assertions: staff do the adapting; nothing gained buying adaptations; studios watch copyright expiry. Named failure modes: adaptors who flatten originality, substitute their own ideas, make all scripts alike, make a hero a "strutting fool", over-explain (two reels of explanation), mistake narration for plot, and trigger cascading changes. Against the named offers: Phillips has no adaptation passage in his chapter body (C3-B252-S70-05); Lubbock's inner-life method (C3-B276-S87, C3-B278-S88) and Münsterberg's stage-versus-screen argument (C3-B260-S75) have no counterpart in Ch. XLIX beyond show-not-tell for stated facts. Curator qualifications: Adaptation order, source-type rules, event ordering, the bounded negatives on dialogue and inner thought, and reconstruction are verified as Sargent's text. The claim/example/market split in -07 holds. Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.
Structured fields
{
  "citations": [
    {
      "url": "https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt",
      "note": "sar.flat (a3cff7eb) ch. XLIX offsets per candidate"
    }
  ]
}

Evidence claims

  • [sourced_fact] Claims: adaptation is hard; know the characters; do not alter the author's plot; transfer, do not change. Examples: Mary/Jim, Reginald/Venice, Uncle Tom, Spartacus, the marble-statue vandals, the photographer. Market assertions: staff do the adapting; nothing gained buying adaptations; studios watch copyright expiry. Named failure modes: adaptors who flatten originality, substitute their own ideas, make all scripts alike, make a hero a "strutting fool", over-explain (two reels of explanation), mistake narration for plot, and trigger cascading changes. Against the named offers: Phillips has no adaptation passage in his chapter body (C3-B252-S70-05); Lubbock's inner-life method (C3-B276-S87, C3-B278-S88) and Münsterberg's stage-versus-screen argument (C3-B260-S75) have no counterpart in Ch. XLIX beyond show-not-tell for stated facts. · locator: sar.flat (a3cff7eb) ch. XLIX offsets per candidate source

Rights

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Applies to this original summary only, not to the cited sources.

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