What jobs does Sargent (1916, Ch. XXXVIII) give a close-up to do, and which of them are his general claims and which are only illustrations?
1916 practice: Sargent names several jobs for the close-up: break a scene that runs too long, emphasise an action that might be lost, create intimacy, show facial expression, give a small player-action its own stage, shorten a scene whose action must stay in that scene, replace a leader to some extent, and emphasise a component part (an object or peril). Each is a claim; the restaurant, John-and-Edna, club-speech and tied-hero cases are his invented illustrations. He says (para 15, paraphrase) that the two worked examples comprehend about all that can be said of the close-up, while the use of the device is wide.
1916 practice: Sargent names several jobs for the close-up: break a scene that runs too long, emphasise an action that might be lost, create intimacy, show facial expression, give a small player-action its own stage, shorten a scene whose action must stay in that scene, replace a leader to some extent, and emphasise a component part (an object or peril). Each is a claim; the restaurant, John-and-Edna, club-speech and tied-hero cases are his invented illustrations. He says (para 15, paraphrase) that the two worked examples comprehend about all that can be said of the close-up, while the use of the device is wide.
Curator qualifications: Close-up definition, jobs, numbering as separate scenes, cautions and the bounded 'no ratio' negative are verified as Sargent's text. The density figures in -04 are counts of his own printed examples.
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. XXXVIII offsets per candidate"
}
]
}Evidence claims
- [sourced_fact] 1916 practice: Sargent names several jobs for the close-up: break a scene that runs too long, emphasise an action that might be lost, create intimacy, show facial expression, give a small player-action its own stage, shorten a scene whose action must stay in that scene, replace a leader to some extent, and emphasise a component part (an object or peril). Each is a claim; the restaurant, John-and-Edna, club-speech and tied-hero cases are his invented illustrations. He says (para 15, paraphrase) that the two worked examples comprehend about all that can be said of the close-up, while the use of the device is wide. · locator: sar.flat (a3cff7eb) ch. XXXVIII offsets per candidate source
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