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Münsterberg's account (relayed from C3-B187-S41-01) treats the close-up as attention made visible; the two agree that the close-up directs attention but differ in kind (a practical rule versus a psychological theory).","status":"active","body":{"text":"1916 practice: Sargent explains attention in staging terms. In a big scene the viewer may watch the wrong person; a close-up isolates the right one, and the chain of close-ups directs where the viewer looks next (Gecko watches Dick, then Paula, then Pompton). Intimacy is a second effect: a person lifted out of a crowd gains individuality. He compares the close-up to the novelist's licence to tell several persons' thoughts. He offers no theory of why attention behaves this way. Münsterberg's account (relayed from C3-B187-S41-01) treats the close-up as attention made visible; the two agree that the close-up directs attention but differ in kind (a practical rule versus a psychological theory).\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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