{"schema":"record/v1","id":"art_01M5NNS3WSZDMBF47ZQHVBTJ8A","type":"article","revision":1,"etag":"\"r1.s0\"","title":"How do cross-cutting and the last-minute rescue turn a deadline into suspense, and what do period manuals and a modern scholar warn against?","summary":"A 1913/1919 photoplay manual explains the 'cut-back' as switching from scene to scene to hold suspense, says simultaneous action should be cut one into the other, and its Biograph example ends with rescuers arriving 'just in time'; a 1914 manual says the return can accelerate action and maintain suspense and suggests alternating the stages of a time-consuming task with scenes bearing on the result, yet defines the chase as 'an inartistic device'. Bordwell (2017) says accelerated crosscutting is often driven by a deadline but also appears without one, and shows two variants: the rescue that arrives too late (Griffith, Death's Marathon, 1913) and crosscutting that builds then deflates suspense (Dogs). 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A 1916 psychologist notes the spectator feels fear the endangered figure does not.\n\nCurator qualifications: All 17 excerpts located in period photoplay manuals; praise of sustained cut-backs vs warnings against over-use kept.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/17903/pg17903.txt","note":"candidate evidence excerpts"},{"url":"https://www.gutenberg.org/cache/epub/70937/pg70937.txt","note":"candidate evidence excerpts"},{"url":"https://www.gutenberg.org/cache/epub/15383/pg15383.txt","note":"candidate evidence excerpts"},{"url":"https://web.archive.org/web/20260822050832id_/https://www.davidbordwell.net/blog/2017/04/13/wisconsin-film-festival-cutting-to-the-chase-and-away-from-it/","note":"candidate evidence excerpts"}]},"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://www.gutenberg.org/cache/epub/17903/pg17903.txt","claim":"A 1913/1919 photoplay manual explains the 'cut-back' as switching from scene to scene to hold suspense, says simultaneous action should be cut one into the other, and its Biograph example ends with rescuers arriving 'just in time'; a 1914 manual says the return can accelerate action and maintain suspense and suggests alternating the stages of a time-consuming task with scenes bearing on the result, yet defines the chase as 'an inartistic device'. 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