{"schema":"record/v1","id":"art_01M5NHZ1QY36Y02NCKS3Y5YTFA","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What are the elements of a POV structure that a shot planner must keep consistent, and what happens when one is changed?","summary":"Partially verified: the curator re-read none of the cited sources; S3 rests on the producer's pinned reading. Branigan's chapter (German translation) decomposes the POV structure into six elements: a point in space, a glance, a temporal transition, a camera placed at that point, the object, and a character who perceives. For each element he gives film examples where altering the element creates ambiguity or a different reading: too many points (Marienbad), a glance with no clear target (Psycho tray), a repeated object without the glance (Ozu), a camera that is not at the point (Ozu's Bakushu corridor), a tracking shot that is too fast for its character, and a corpse with closed eyes. The decomposition is a descriptive analysis by one scholar, not a tested design rule.","status":"active","body":{"text":"Partially verified: the curator re-read none of the cited sources; S3 rests on the producer's pinned reading.\n\nBranigan's chapter (German translation) decomposes the POV structure into six elements: a point in space, a glance, a temporal transition, a camera placed at that point, the object, and a character who perceives. For each element he gives film examples where altering the element creates ambiguity or a different reading: too many points (Marienbad), a glance with no clear target (Psycho tray), a repeated object without the glance (Ozu), a camera that is not at the point (Ozu's Bakushu corridor), a tracking shot that is too fast for its character, and a corpse with closed eyes. The decomposition is a descriptive analysis by one scholar, not a tested design rule.\n\nCurator qualifications: Partially verified: the curator re-read none of the cited sources; S3 rests on the producer's pinned reading. Curator GET 2026-10-23 of the sources not re-read (mechanical source evidence, not semantic verification): S3: HTTP 200, bytes equal to the producer pin.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://montage-av.de/wp-content/uploads/pdf/161_2007/161_2007_Edward_Branigan_Die-Point-of-View-Struktur.pdf","note":"candidate evidence excerpts"}]},"categories":["T01","T02","T10"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"metadata_checked","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://montage-av.de/wp-content/uploads/pdf/161_2007/161_2007_Edward_Branigan_Die-Point-of-View-Struktur.pdf","claim":"Branigan's chapter (German translation) decomposes the POV structure into six elements: a point in space, a glance, a temporal transition, a camera placed at that point, the object, and a character who perceives. 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For each element he gives film examples where altering the element creates ambiguity or a different reading: too many points (Marienbad), a glance with no clear target (Psycho tray), a repeated object without the glance (Ozu), a camera that is not at the point (Ozu's Bakushu corridor), a tracking shot that is too fast for its character, and a corpse with closed eyes. The decomposition is a descriptive analysis by one scholar, not a tested design rule.\n\nCurator qualifications: Partially verified: the curator re-read none of the cited sources; S3 rests on the producer's pinned reading. Curator GET 2026-10-23 of the sources not re-read (mechanical source evidence, not semantic verification): S3: HTTP 200, bytes equal to the producer pin.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://montage-av.de/wp-content/uploads/pdf/161_2007/161_2007_Edward_Branigan_Die-Point-of-View-Struktur.pdf","note":"candidate evidence excerpts"}]},"tags":[],"type":"article","links":[],"title":"What are the elements of a POV structure that a shot planner must keep consistent, and what happens when one is changed?","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":"Partially verified: the curator re-read none of the cited sources; S3 rests on the producer's pinned reading. Branigan's chapter (German translation) decomposes the POV structure into six elements: a point in space, a glance, a temporal transition, a camera placed at that point, the object, and a character who perceives. For each element he gives film examples where altering the element creates ambiguity or a different reading: too many points (Marienbad), a glance with no clear target (Psycho tray), a repeated object without the glance (Ozu), a camera that is not at the point (Ozu's Bakushu corridor), a tracking shot that is too fast for its character, and a corpse with closed eyes. 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