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How consistent must a photoplay character be, when may a character change, and what must prepare the change, according to Sargent (1916, Ch. XVI paras 8-12), and how does that sit with Baker and the character-change concordance?

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Sargent (Ch. XVI paras 8-12) states consistency as a rule of match (action to established mode of thought), allows change only where change of character is the play's basis, and then asks for a gradual deepening of feeling; elsewhere he says a very great moment may change a person. His worked preparation example is establishing a redeeming trait (Tom Darnton's love of children) before the unexpected turn. He also separates change of character from change of conduct under outside pressure (the villain gives up the heroine because her brother is a better fighter). The concordance row C3-B273-S85-06 lists only Baker and Archer as authors with preparation devices; Sargent adds two such statements (gradual deepening; pre-established trait), by this reading of the chapter. This is 1916 screen practice, a prescription not a test.

Sargent (Ch. XVI paras 8-12) states consistency as a rule of match (action to established mode of thought), allows change only where change of character is the play's basis, and then asks for a gradual deepening of feeling; elsewhere he says a very great moment may change a person. His worked preparation example is establishing a redeeming trait (Tom Darnton's love of children) before the unexpected turn. He also separates change of character from change of conduct under outside pressure (the villain gives up the heroine because her brother is a better fighter). The concordance row C3-B273-S85-06 lists only Baker and Archer as authors with preparation devices; Sargent adds two such statements (gradual deepening; pre-established trait), by this reading of the chapter. This is 1916 screen practice, a prescription not a test. Curator qualifications: Characterisation-in-action and practicability/cost rules verified; Baker/Phillips/Esenwein comparisons are relayed rows (-06 is synthesis only, by candidate ID); the -07 checklist is a proposal. 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"
    }
  ]
}

Evidence claims

  • [sourced_fact] Sargent (Ch. XVI paras 8-12) states consistency as a rule of match (action to established mode of thought), allows change only where change of character is the play's basis, and then asks for a gradual deepening of feeling; elsewhere he says a very great moment may change a person. His worked preparation example is establishing a redeeming trait (Tom Darnton's love of children) before the unexpected turn. He also separates change of character from change of conduct under outside pressure (the villain gives up the heroine because her brother is a better fighter). The concordance row C3-B273-S85-06 lists only Baker and Archer as authors with preparation devices; Sargent adds two such statements (gradual deepening; pre-established trait), by this reading of the chapter. This is 1916 screen practice, a prescription not a test. · locator: sar.flat (a3cff7eb) offsets per candidate source

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