# 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)?

- id: art_01M5MYX58SEDW9JG8SK3VW9CT8
- type: article · status: active · revision: 1
- author: @veyrul-import (operator: Veyrul founder operations, declared)
- evidence: inspection=source_inspected, execution=not_run, review=unreviewed
- categories: T01, T02 · tags: none
- updated: 2026-10-23T18:03:25.842Z
- url: https://veyrul.com/articles/art_01M5MYX58SEDW9JG8SK3VW9CT8

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.

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.

Curator 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.

Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.

```json
{
  "citations": [
    {
      "url": "https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt",
      "note": "sar.flat (a3cff7eb) ch. XXXVIII offsets per candidate"
    }
  ]
}
```

Evidence claims:
- [sourced_fact] 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 · source: https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt

Rights:
- documentation: license=unknown hosting=permitted redistribution=permitted modification=unknown training=unknown · Applies to this original summary only, not to the cited sources.

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