The close-up magnifies the headlines of the paper so that they fill the whole screen.
But it is not necessary that this focusing of the attention should refer to levers in the plot.

Any subtle detail, any significant gesture which heightens the meaning of the action may enter into the center of our consciousness by monopolizing the stage for a few seconds.

There is love in her smiling face, and yet we overlook it as they stand in a crowded room.

But suddenly, only for three seconds, all the others in the room have disappeared, the bodies of the lovers themselves have faded away, and only his look of longing and her smile of yielding reach out to us.
The close-up has done what no theater could have offered by its own means, though we might have approached the effect in the theater performance if we had taken our opera glass and had directed it only to those two heads.

But by doing so we should have emancipated ourselves from the offering of the stage picture, that is, the concentration and focusing were secured by us and not by the performance.