{"schema":"record/v1","id":"art_01M5MYX58SEDW9JG8SK3VW9CT8","type":"article","revision":1,"etag":"\"r1.s0\"","title":"How do Sargent's 1916 close-up claims compare, by candidate ID only, with Münsterberg's attention account (C3-B187-S41), Phillips's close-view (C3-B289-S96) and the coverage and shot-size rows (C3-B231-S58)?","summary":"Comparison by candidate ID (synthesis; the other rows are relayed, not re-checked). Vocabulary differs: Sargent says close-up and bust, Phillips says close-view and calls close-up unliterary (relayed), Esenwein/Leeds write close-up series (relayed). Functions overlap: all stress emphasis and breaking long scenes; Phillips claims no device equals the close-view for dangerously long scenes, Sargent lists breaking long scenes first among three advantages. Sargent adds the staging test (alter the action first) and the intimacy claim; Münsterberg adds a mental-act theory; Esenwein/Leeds add the shoot-all-wide-first production practice. None gives a count or ratio, which matches Sargent's silence here.","status":"active","body":{"text":"Comparison by candidate ID (synthesis; the other rows are relayed, not re-checked). Vocabulary differs: Sargent says close-up and bust, Phillips says close-view and calls close-up unliterary (relayed), Esenwein/Leeds write close-up series (relayed). Functions overlap: all stress emphasis and breaking long scenes; Phillips claims no device equals the close-view for dangerously long scenes, Sargent lists breaking long scenes first among three advantages. Sargent adds the staging test (alter the action first) and the intimacy claim; Münsterberg adds a mental-act theory; Esenwein/Leeds add the shoot-all-wide-first production practice. None gives a count or ratio, which matches Sargent's silence here.\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"}]},"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://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","claim":"Comparison by candidate ID (synthesis; the other rows are relayed, not re-checked). Vocabulary differs: Sargent says close-up and bust, Phillips says close-view and calls close-up unliterary (relayed), Esenwein/Leeds write close-up series (relayed). Functions overlap: all stress emphasis and breaking long scenes; Phillips claims no device equals the close-view for dangerously long scenes, Sargent lists breaking long scenes first among three advantages. Sargent adds the staging test (alter the action first) and the intimacy claim; Münsterberg adds a mental-act theory; Esenwein/Leeds add the shoot-all-wide-first production practice. None gives a count or ratio, which matches Sargent's silence here.","locator":"sar.flat (a3cff7eb) ch. 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Vocabulary differs: Sargent says close-up and bust, Phillips says close-view and calls close-up unliterary (relayed), Esenwein/Leeds write close-up series (relayed). Functions overlap: all stress emphasis and breaking long scenes; Phillips claims no device equals the close-view for dangerously long scenes, Sargent lists breaking long scenes first among three advantages. Sargent adds the staging test (alter the action first) and the intimacy claim; Münsterberg adds a mental-act theory; Esenwein/Leeds add the shoot-all-wide-first production practice. None gives a count or ratio, which matches Sargent's silence here.\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":"How do Sargent's 1916 close-up claims compare, by candidate ID only, with Münsterberg's attention account (C3-B187-S41), Phillips's close-view (C3-B289-S96) and the coverage and shot-size rows (C3-B231-S58)?","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":"Comparison by candidate ID (synthesis; the other rows are relayed, not re-checked). Vocabulary differs: Sargent says close-up and bust, Phillips says close-view and calls close-up unliterary (relayed), Esenwein/Leeds write close-up series (relayed). Functions overlap: all stress emphasis and breaking long scenes; Phillips claims no device equals the close-view for dangerously long scenes, Sargent lists breaking long scenes first among three advantages. Sargent adds the staging test (alter the action first) and the intimacy claim; Münsterberg adds a mental-act theory; Esenwein/Leeds add the shoot-all-wide-first production practice. None gives a count or ratio, which matches Sargent's silence here.","evidence":{"claims":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","claim":"Comparison by candidate ID (synthesis; the other rows are relayed, not re-checked). Vocabulary differs: Sargent says close-up and bust, Phillips says close-view and calls close-up unliterary (relayed), Esenwein/Leeds write close-up series (relayed). Functions overlap: all stress emphasis and breaking long scenes; Phillips claims no device equals the close-view for dangerously long scenes, Sargent lists breaking long scenes first among three advantages. Sargent adds the staging test (alter the action first) and the intimacy claim; Münsterberg adds a mental-act theory; Esenwein/Leeds add the shoot-all-wide-first production practice. None gives a count or ratio, which matches Sargent's silence here.","locator":"sar.flat (a3cff7eb) ch. XXXVIII offsets per candidate","classification":"sourced_fact"}],"review":"unreviewed","execution":"not_run","inspection":"source_inspected","execution_record_ids":[]},"language":"en","categories":["T01","T02"],"extensions":{"curation/v1":{"curator":"CURATOR-A-20261021","revision":1,"topic_ids":["CAT:T01.02","CAT:T02.01"],"confidence":"Not stated; see limitations.","limitations":["Source pin hashes are native catalogue descriptor hashes, not upstream byte hashes. 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