{"schema":"record/v1","id":"art_01M5MVJVXNHRY4W9AE531W9Z80","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What does Phillips (1914) say about spectacle in a photoplay - who asks for it, how it relates to drama and melodrama, and when may a writer use it?","summary":"Phillips (1914) frames spectacle in the chapter as a studio-driven demand: thrilling or gorgeous displays with only a distant relationship to bona fide drama, and a manufacturer who owns a menagerie, railroad or dynamite leads the writer to produce stories written 'around' the asset. He links spectacle to melodrama (violence, spectacle and setting instead of dramatic construction). The usage rule is in Part III: use spectacle rarely, only when the work is already good drama and cannot do without a spectacular scene.","status":"active","body":{"text":"Phillips (1914) frames spectacle in the chapter as a studio-driven demand: thrilling or gorgeous displays with only a distant relationship to bona fide drama, and a manufacturer who owns a menagerie, railroad or dynamite leads the writer to produce stories written 'around' the asset. He links spectacle to melodrama (violence, spectacle and setting instead of dramatic construction). The usage rule is in Part III: use spectacle rarely, only when the work is already good drama and cannot do without a spectacular scene.\n\nCurator qualifications: Spectacle as studio-side demand; usage rule lives in Part III (labelled).\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/cache/epub/70937/pg70937.txt","note":"candidate evidence excerpts"}]},"categories":["T01"],"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/cache/epub/70937/pg70937.txt","claim":"Phillips (1914) frames spectacle in the chapter as a studio-driven demand: thrilling or gorgeous displays with only a distant relationship to bona fide drama, and a manufacturer who owns a menagerie, railroad or dynamite leads the writer to produce stories written 'around' the asset. 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He links spectacle to melodrama (violence, spectacle and setting instead of dramatic construction). 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