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CHAPTER XXXVIII 181 35. Parlor —Club assembled—Mrs. Brown brings Belding in—in- troduces him—mild applause—Belding starts to speak. 36. Close-up of Mrs. Smith and Mrs. Green on sofa—they listen coldly—rather sneeringly. ?>7. Close-up of Belding—he is warming to his work—driving home his points. 38. Close-up of Muriel—she is intensely interested—sits well for- ward in her chair. 39. Close-up of Belding—he makes a telling point—pauses—looks about. 40. Big scene —Women show more interest—more applause. 41. Close-up of corner—Mrs. Smith and Mrs. Green have lost their sneers. 42. Close-up of Muriel—she is listening intently—gives a little jump as Belding drives home a point—applauds frantically. 43. Close-up of sofa—Mrs. Smith and Mrs. Green applauding wildly. 44. Big scene —Belding concludes—women applaud—spring up and close in about him—all exit from scene—still with Belding in the centre. It is possible for a novelist to describe a large scene and at the same time tell the thoughts of various persons in the scene. With the close-up the photoplay author has practically the same opportunity, if not the same space. 18. It might have been possible to have broken the scene with a leader. It was customary at one time. The scene would show Belding starting to speak. Then the leader would come. "Belding wins the support of the club." Then we would see him bowing and it would be over. It is now regarded as better practice to play around a scene in close-ups where possible and use the break leader to point the ter- mination of a full period of action. 19. One other use of the close-up will suggest itself. This is the purely mechanical aspect of the device used to heighten the effect of a scene through emphasis on some component part of the scene. The large scene shows the hero tied to a chair with an infernal machine below. To come close in is to isolate this from the remainder of the scene and so to obtain a greater effect through the greater emphasis placed upon the perilous position of the hero. 20. In making the close-up the action of the scene and the turning of the camera is stopped while the camera is brought down to the new position. This necessitates a new scene number, as shown in the ex- amples given here and elsewhere. 21. One other form of close-up may be mentioned here, though it is but seldom used except in trick work. This is the form of close- up in which the change from full stage to the close view is a gradual enlargement of a part of the field. There is no stoppage of the cam . era or the action, but it appears as though the scene approaches the