When did Sargent (1916) tell a photoplay writer to call for a bust, the close view of one small action, and when to leave it out?
1916 practice (Sargent, Ch. XXXV): call for a bust when a small action decides the plot and would be missed or not understood in the full scene (a pistol slipped into a pocket, a safe combination, a stone swapped at a bench), when a trick effect must be controlled, or when a held two-person scene needs a break that also plants an object. Leave it out for inanimate objects (write an insert), as a scene ending (return to the larger scene), as a frequent habit, or as a fix for a weak story. His text names no purpose of showing facial expression in this chapter (see negative_results).
1916 practice (Sargent, Ch. XXXV): call for a bust when a small action decides the plot and would be missed or not understood in the full scene (a pistol slipped into a pocket, a safe combination, a stone swapped at a bench), when a trick effect must be controlled, or when a held two-person scene needs a break that also plants an object. Leave it out for inanimate objects (write an insert), as a scene ending (return to the larger scene), as a frequent habit, or as a fix for a weak story. His text names no purpose of showing facial expression in this chapter (see negative_results).
Curator qualifications: When to call or omit a bust verified; facial-expression negative confirmed with the quoted-phrase caveat.
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) offsets per candidate; sar.flat[437482:450568] (Ch. XXXV heading to Ch. XXXVI heading)"
}
]
}Evidence claims
- [sourced_fact] 1916 practice (Sargent, Ch. XXXV): call for a bust when a small action decides the plot and would be missed or not understood in the full scene (a pistol slipped into a pocket, a safe combination, a stone swapped at a bench), when a trick effect must be controlled, or when a held two-person scene needs a break that also plants an object. Leave it out for inanimate objects (write an insert), as a scene ending (return to the larger scene), as a frequent habit, or as a fix for a weak story. His text names no purpose of showing facial expression in this chapter (see negative_results). · locator: sar.flat (a3cff7eb) offsets per candidate; sar.flat[437482:450568] (Ch. XXXV heading to Ch. XXXVI heading) 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. |