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How does Sargent (1916, Ch. XXXIX) say alternating cut-backs build suspense, how far can they be stretched, and what does he do to keep a long alternation from collapsing?

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1916 practice: Sargent says cut-backs make suspense by delaying the climax and by suggesting victory and defeat in alternation; one scene alone gives only a wait for the inevitable, and a rescue scene adds suspense. He then shows three versions of one rescue: a three-scene version (short-lived suspense), a stretched 23-scene version in which the ride is repeated until an adult audience is 'laughing heartily', and a version of the same number of scenes that adds plot incident (wrong trail, loosened saddle girth, a fight) and keeps the suspense. His rule: suspense is effective only if not carried too far, like a stretched rubber band, so add new factors while you stretch and stop when you cannot.

1916 practice: Sargent says cut-backs make suspense by delaying the climax and by suggesting victory and defeat in alternation; one scene alone gives only a wait for the inevitable, and a rescue scene adds suspense. He then shows three versions of one rescue: a three-scene version (short-lived suspense), a stretched 23-scene version in which the ride is repeated until an adult audience is 'laughing heartily', and a version of the same number of scenes that adds plot incident (wrong trail, loosened saddle girth, a fight) and keeps the suspense. His rule: suspense is effective only if not carried too far, like a stretched rubber band, so add new factors while you stretch and stop when you cannot. Curator qualifications: Cut-back jobs (bridge, contrast, suspense), scene numbering ('Back to No. 35'), suspense by alternation and the cautions are verified as Sargent's text. 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. XXXIX offsets per candidate"
    }
  ]
}

Evidence claims

  • [sourced_fact] 1916 practice: Sargent says cut-backs make suspense by delaying the climax and by suggesting victory and defeat in alternation; one scene alone gives only a wait for the inevitable, and a rescue scene adds suspense. He then shows three versions of one rescue: a three-scene version (short-lived suspense), a stretched 23-scene version in which the ride is repeated until an adult audience is 'laughing heartily', and a version of the same number of scenes that adds plot incident (wrong trail, loosened saddle girth, a fight) and keeps the suspense. His rule: suspense is effective only if not carried too far, like a stretched rubber band, so add new factors while you stretch and stop when you cannot. · locator: sar.flat (a3cff7eb) ch. XXXIX offsets per candidate source

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