{"schema":"record/v1","id":"art_01M5MXA1GEJH9SH2CNMXRGJ6Z5","type":"article","revision":1,"etag":"\"r1.s0\"","title":"How do Sargent's Chapter XXXIX claims about the cut-back compare, by candidate ID only, with the early-manual flashback and cut-back rows (C3-B039-S11), the cross-cutting and last-minute-rescue rows (C3-B160-S33) and Münsterberg on the cut-back (C3-B187-S41)?","summary":"Comparison (synthesis; the other batches' rows are relayed, not re-checked). Münsterberg (C3-B187-S41-01) defines the cut-back as any return to an earlier scene and maps it to remembering; Sargent defines it by three jobs and by script form, and in this chapter ties it to the audience remembering within present-time action, not to character memory. On suspense Sargent agrees with the relayed 1913-1919 manuals (C3-B160-S33-02, C3-B039-S11-05) and goes further on how a long alternation fails and is repaired. Münsterberg warns of 'nervous jerking' from many changes (C3-B187-S41-03); Sargent warns of attenuation and laughter, with no count. One relayed quotation of Sargent (C3-B039-S11-05 E9) differs from his own wording here.","status":"active","body":{"text":"Comparison (synthesis; the other batches' rows are relayed, not re-checked). Münsterberg (C3-B187-S41-01) defines the cut-back as any return to an earlier scene and maps it to remembering; Sargent defines it by three jobs and by script form, and in this chapter ties it to the audience remembering within present-time action, not to character memory. On suspense Sargent agrees with the relayed 1913-1919 manuals (C3-B160-S33-02, C3-B039-S11-05) and goes further on how a long alternation fails and is repaired. Münsterberg warns of 'nervous jerking' from many changes (C3-B187-S41-03); Sargent warns of attenuation and laughter, with no count. One relayed quotation of Sargent (C3-B039-S11-05 E9) differs from his own wording here.\n\nCurator qualifications: Cut-back jobs (bridge, contrast, suspense), scene numbering ('Back to No. 35'), suspense by alternation and the cautions are verified as Sargent's text.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","note":"sar.flat (a3cff7eb) ch. XXXIX offsets per candidate"}]},"categories":["T01","T10"],"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://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","claim":"Comparison (synthesis; the other batches' rows are relayed, not re-checked). 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Münsterberg (C3-B187-S41-01) defines the cut-back as any return to an earlier scene and maps it to remembering; Sargent defines it by three jobs and by script form, and in this chapter ties it to the audience remembering within present-time action, not to character memory. On suspense Sargent agrees with the relayed 1913-1919 manuals (C3-B160-S33-02, C3-B039-S11-05) and goes further on how a long alternation fails and is repaired. Münsterberg warns of 'nervous jerking' from many changes (C3-B187-S41-03); Sargent warns of attenuation and laughter, with no count. 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