[Footnote 17:  Epes Winthrop Sargent, The Technique of the Photoplay.]

Bear in mind, then, that the introduction of a bust scene makes the succeeding portion of the action in that setting another scene, with its own consecutive number.

In the past few years, the number of scenes to the reel has been almost doubled, in most studios; and this is due to the increased use of the close-up.  The bust and the close-up are entirely separate in their utility and effect, yet, properly used, each has been found a valuable addition to the technical devices of photoplay construction.  It is now frequently the practice of many directors to bring the camera nearer to a certain character, or group of characters, at some important point of the action for the sake of emphasizing facial expression or certain bits of “business” that are vitally essential to a proper understanding of the plot.

This may be accomplished in three different ways—­the method employed always depending upon the nature of the scene as well as of the setting or location.  First, if the surroundings of the character at that stage of the action are important as having something to do with the “business” being carried out—­if, for example, it is necessary to show, at close range, the actions of two characters who are seated at a table—­the director has the camera moved down toward them, and that particular close-up, or series of close-ups, is taken usually, as has been said, after all the wide-angle scenes in that setting have been “done,” for the obvious purpose of rendering unnecessary the frequent shifting of the camera.

If, on the other hand, the director merely wishes to emphasize at certain points in any scene the facial expression of his players, as affected by the humorous, startling, or other emotional “business” incidental to the plot at that point, and if the surroundings of the character or characters may be indeterminate without detracting from the value of the scene, the player or players may be brought nearer to the camera, and the close-up may even be made with the subjects posed against a plain, dark background.  This method of obtaining the close-up is frequently resorted to, and, it may be said, is not always truly “artistic,” if seriously considered, inasmuch as it tends to detach the character from the surroundings of the scene, and make the result more than ever in the nature of a figure in the spot-light.  We have seen many pictures, particularly those with female “stars” featured—­as, for example, the Mary Pickford pictures—­in which the action of a scene would be broken several times, and the head of the pretty “star” shown photographed against a plain, very dark background.