What does Sargent (1916, Ch. XXXVIII) say a close-up should show: a face and its expression, a reaction, a small action, or an object, and how do his examples handle each?
1916 practice: for Sargent the central content of a close-up is expression (he says much of the story is or should be told in facial expression), with a second use of isolating a component (the tied hero's peril) and a third of giving a small action its own stage (the gift of a flower, a nearly slipped foot). In his scripts a close-up usually carries a single player or a pair, one or two beats of business, and a facial or postural cue ('intensely interested', 'sneeringly'). He says some points need no close-up: the audience already knows Gecko is at the rear.
1916 practice: for Sargent the central content of a close-up is expression (he says much of the story is or should be told in facial expression), with a second use of isolating a component (the tied hero's peril) and a third of giving a small action its own stage (the gift of a flower, a nearly slipped foot). In his scripts a close-up usually carries a single player or a pair, one or two beats of business, and a facial or postural cue ('intensely interested', 'sneeringly'). He says some points need no close-up: the audience already knows Gecko is at the rear.
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
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"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: for Sargent the central content of a close-up is expression (he says much of the story is or should be told in facial expression), with a second use of isolating a component (the tied hero's peril) and a third of giving a small action its own stage (the gift of a flower, a nearly slipped foot). In his scripts a close-up usually carries a single player or a pair, one or two beats of business, and a facial or postural cue ('intensely interested', 'sneeringly'). He says some points need no close-up: the audience already knows Gecko is at the rear. · locator: sar.flat (a3cff7eb) ch. XXXVIII offsets per candidate source
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