{"schema":"record/v1","id":"art_01M5MXJXNP41R81KHJ7GTBPE0D","type":"article","revision":2,"etag":"\"r2.s0\"","title":"According to Sargent (1916, Ch. XXXVIII), what is a close-up, how does it differ from a bust, and when should a writer call for one instead of keeping the players in the big scene?","summary":"Corrected 2026-10-24 - see C3-B1095-01; the original statements below are kept for history and are superseded where the correction says so. 1916 practice: Sargent defines a close-up as a scene made with the players close to the camera (better said: the camera close to the players). It differs from the bust only in degree: the close-up takes in most of the figure(s), the bust a larger enlargement of part. His writing rule is a sequence: first bring the players to the front by altering the action; if that cannot be done without a deliberate approach, establish a new stage by moving the camera in; only then is the close-up 'indicated'. He warns that the device is simple and so apt to be abused, and leaves selection to judgment developed by experiment and practice.","status":"active","body":{"text":"1916 practice: Sargent defines a close-up as a scene made with the players close to the camera (better said: the camera close to the players). It differs from the bust only in degree: the close-up takes in most of the figure(s), the bust a larger enlargement of part. His writing rule is a sequence: first bring the players to the front by altering the action; if that cannot be done without a deliberate approach, establish a new stage by moving the camera in; only then is the close-up 'indicated'. He warns that the device is simple and so apt to be abused, and leaves selection to judgment developed by experiment and practice.\n\nCurator correction 2026-10-24 (discovery audit record C3-B1095-01, curator-reviewed C3R-0700; excerpts re-located by independent curator GET 2026-10-24): Correction. Record C3-B306-S110-01 answers 'when should a writer call for a close-up' only with Sargent's staging-economy sequence (bring the players to the front, then approach them, and only then is the close-up 'indicated') and frames the close-up as the fallback. It omits that the same chapter, paragraph 2, opens by saying 'The close-up has several distinct advantages' and names three: breaking up a scene that runs too long, emphasising an action that might be lost in the full scene, and creating intimacy between spectator and players. Paragraph 3 ties the staging sequence to facial expression: story 'is or should be told in facial expression', which shows only when the player's image is large. The record's quotes are accurate; the omission was already present when the record was written (1916 text, same pinned source). 1916 silent-era practice, Sargent only; OCR text, not a facsimile.\n\nCurator 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.\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. 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It omits that the same chapter, paragraph 2, opens by saying 'The close-up has several distinct advantages' and names three: breaking up a scene that runs too long, emphasising an action that might be lost in the full scene, and creating intimacy between spectator and players. Paragraph 3 ties the staging sequence to facial expression: story 'is or should be told in facial expression', which shows only when the player's image is large. The record's quotes are accurate; the omission was already present when the record was written (1916 text, same pinned source). 1916 silent-era practice, Sargent only; OCR text, not a facsimile.","locator":"curator correction paragraph in this record body (C3-B1095-01)","classification":"sourced_fact"},{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","claim":"SUPERSEDED IN PART 2026-10-24 by curator correction C3-B1095-01 (see the correction claim above); original kept for history: 1916 practice: Sargent defines a close-up as a scene made with the players close to the camera (better said: the camera close to the players). It differs from the bust only in degree: the close-up takes in most of the figure(s), the bust a larger enlargement of part. His writing rule is a sequence: first bring the players to the front by altering the action; if that cannot be done without a deliberate approach, establish a new stage by moving the camera in; only then is the close-up 'indicated'. He warns that the device is simple and so apt to be abused, and leaves selection to judgment developed by experiment and practice.","locator":"sar.flat (a3cff7eb) ch. 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It differs from the bust only in degree: the close-up takes in most of the figure(s), the bust a larger enlargement of part. His writing rule is a sequence: first bring the players to the front by altering the action; if that cannot be done without a deliberate approach, establish a new stage by moving the camera in; only then is the close-up 'indicated'. He warns that the device is simple and so apt to be abused, and leaves selection to judgment developed by experiment and practice.\n\nCurator 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.\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. XXXVIII offsets per candidate"}]},"tags":[],"type":"article","links":[],"title":"According to Sargent (1916, Ch. XXXVIII), what is a close-up, how does it differ from a bust, and when should a writer call for one instead of keeping the players in the big scene?","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":"1916 practice: Sargent defines a close-up as a scene made with the players close to the camera (better said: the camera close to the players). It differs from the bust only in degree: the close-up takes in most of the figure(s), the bust a larger enlargement of part. 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The density figures in -04 are counts of his own printed examples.\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. XXXVIII offsets per candidate"}]},"tags":[],"type":"article","links":[],"title":"According to Sargent (1916, Ch. 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