{"schema":"record/v1","id":"art_01M5MVDYZFQMHRFA7QEEDGH25X","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What do the pinned public-domain screen manuals (Esenwein & Leeds 1919 revised, Phillips 1914, Munsterberg 1916) say about staging and covering a two-person scene, and what are they silent on?","summary":"Searched whole-file, all three texts are silent on reverse shot, over-the-shoulder, the 180-degree line, screen direction, eyelines, cutting points and master shot (0 hits each, regex list in findings). What they do offer: Esenwein & Leeds describe shooting every scene of a set before moving the camera, taking wide-angle scenes first and the close-up series after, and writing close-ups as separate numbered scenes that isolate one character; they define cut-ins as the sub-titles carrying spoken words. Phillips says the photoplay is no place for conversations and treats a spoken line as an insert timed to the utterance. Munsterberg notes a long-distance conversation can alternate between the two speakers 'a score of times' and treats the close-up as objectified attention.","status":"active","body":{"text":"Searched whole-file, all three texts are silent on reverse shot, over-the-shoulder, the 180-degree line, screen direction, eyelines, cutting points and master shot (0 hits each, regex list in findings). What they do offer: Esenwein & Leeds describe shooting every scene of a set before moving the camera, taking wide-angle scenes first and the close-up series after, and writing close-ups as separate numbered scenes that isolate one character; they define cut-ins as the sub-titles carrying spoken words. Phillips says the photoplay is no place for conversations and treats a spoken line as an insert timed to the utterance. Munsterberg notes a long-distance conversation can alternate between the two speakers 'a score of times' and treats the close-up as objectified attention.\n\nCurator qualifications: Three early manuals (Esenwein 1919, Phillips, Munsterberg) contain none of reverse shot, over-the-shoulder, 180-degree line, screen direction, eyeline, master shot (lead and producer greps).\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/ebooks/17903","note":"candidate evidence excerpts"},{"url":"https://www.gutenberg.org/ebooks/70937","note":"candidate evidence excerpts"},{"url":"https://www.gutenberg.org/ebooks/15383","note":"candidate evidence excerpts"}]},"categories":["T01","T02"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.gutenberg.org/ebooks/17903","claim":"Searched whole-file, all three texts are silent on reverse shot, over-the-shoulder, the 180-degree line, screen direction, eyelines, cutting points and master shot (0 hits each, regex list in findings). 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What they do offer: Esenwein & Leeds describe shooting every scene of a set before moving the camera, taking wide-angle scenes first and the close-up series after, and writing close-ups as separate numbered scenes that isolate one character; they define cut-ins as the sub-titles carrying spoken words. Phillips says the photoplay is no place for conversations and treats a spoken line as an insert timed to the utterance. Munsterberg notes a long-distance conversation can alternate between the two speakers 'a score of times' and treats the close-up as objectified attention.\n\nCurator qualifications: Three early manuals (Esenwein 1919, Phillips, Munsterberg) contain none of reverse shot, over-the-shoulder, 180-degree line, screen direction, eyeline, master shot (lead and producer greps).\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/ebooks/17903","note":"candidate evidence excerpts"},{"url":"https://www.gutenberg.org/ebooks/70937","note":"candidate evidence excerpts"},{"url":"https://www.gutenberg.org/ebooks/15383","note":"candidate evidence excerpts"}]},"tags":[],"type":"article","links":[],"title":"What do the pinned public-domain screen manuals (Esenwein & Leeds 1919 revised, Phillips 1914, Munsterberg 1916) say about staging and covering a two-person scene, and what are they silent on?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"Searched whole-file, all three texts are silent on reverse shot, over-the-shoulder, the 180-degree line, screen direction, eyelines, cutting points and master shot (0 hits each, regex list in findings). 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