Not Acknowledging The Intellectual Source Of 'Social Distance' And 'Proximity'

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 147):

Kress and van Leeuwen’s system of SOCIAL DISTANCE (2006) relates to the constructed social relation between viewer and depicted person and is realised through shot size (e.g. close-up versus long shot). Painter et al. (2013) adapt this notion of relative distance to refer to the constructed social relation between depicted characters within images as PROXIMITY.  

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To be clear, unacknowledged by the authors, the intellectual source of both Kress and van Leeuwen’s system of SOCIAL DISTANCE (2006) and the adaptation of their notion by Painter et al. (2013) as PROXIMITY is the work on proxemics by Edward T. Hall, published in 1963):

Edward T. Hall, the cultural anthropologist who coined the term in 1963, defined proxemics as "the interrelated observations and theories of humans' use of space as a specialised elaboration of culture". In his foundational work on proxemics, The Hidden Dimension, Hall emphasised the impact of proxemic behavior (the use of space) on interpersonal communication.

More specifically, both derive from the application of Edward T. Hall's proxemics to cinema. The work of Painter et al. (2013) derives from character proxemics, and the work of Kress and van Leeuwen derives from camera proxemics:

Proxemics is an essential component of cinematic mise-en-scène, the placement of characters, props and scenery within a frame, creating visual weight and movement. There are two aspects to the consideration of proxemics in this context, the first being character proxemics, which addresses such questions as: How much space is there between the characters?, What is suggested by characters who are close to (or, conversely, far away from) each other?, Do distances change as the film progresses? and, Do distances depend on the film's other content?

The other consideration is camera proxemics, which answers the single question: How far away is the camera from the characters/action? Analysis of camera proxemics typically relates Hall's system of proxemic patterns to the camera angle used to create a specific shot, with the long shot or extreme long shot becoming the public proxemic, a full shot (sometimes called a figure shot, complete view, or medium long shot) becoming the social proxemic, the medium shot becoming the personal proxemic, and the close up or extreme close up becoming the intimate proxemic.