The emotional and cognitive effect of immersion in film viewing

This brief report presents an experiment testing the effect of immersion on emotional responses and cognitive genre categorisation of film viewers. Immersion of a film presentation was varied by presenting an animated movie either in a 3D-viewing condition (low immersive condition) or in a CAVE condition (high immersive condition, comparable to virtual reality experience). Viewers rated their emotions and categorised the movies into four basic film genres (action, drama, comedy, and non-fiction). Two distinct types of emotion were measured: Fictional World emotions (e.g., sadness) in response to the presented fictional events and Artefact emotions in response to the film as an artefact (e.g., fascination). Results showed that stronger immersion led to more intense emotions but did not influence genre categorisation. In line with expectations, both types of emotional response were intensified by high immersion. The results are explained by suggesting that highly immersive cinema has its impact on a basic dimension of emotion, namely arousal that underlies both types of emotions.     

Perceptual causality and animacy

Certain simple visual displays consisting of moving 2-D geometric shapes can give rise to percepts with high-level properties such as causality and animacy. This article reviews recent research on such phenomena, which began with the classic work of Michotte and of Heider and Simmel. The importance of such phenomena stems in part from the fact that these interpretations seem to be largely perceptual in nature - to be fairly fast, automatic, irresistible and highly stimulus driven - despite the fact that they involve impressions typically associated with higher-level cognitive processing. This research suggests that just as the visual system works to recover the physical structure of the world by inferring properties such as 3-D shape, so too does it work to recover the causal and social structure of the world by inferring properties such as causality and animacy.     

The perceived intentionality of groups.

Heider and Simmel [Heider, F., Simmel, M., 1944. An experimental study of apparent behavior. American Journal of Psychology 57, 243-259] found that people spontaneously describe depictions of simple moving objects in terms of purposeful and intentional action. Not all intentional beings are objects, however, and people often attribute purposeful activity to non-object individuals such as countries, basketball teams, and families. This raises the question of whether the same effect found by Heider and Simmel would hold for non-object individuals such as groups. We replicate and extend the original study, using both objects and groups as stimuli, and introducing two control conditions with groups that are not engaged in structured movement. We found that under the condition that best promoted the attribution of intentionality, moving groups are viewed as purposeful and goal-directed entities to the same extent that moving objects are. These results suggest that the psychological distinction between the notion of 'intentional entity' and the notion of 'object' can be found even in the perception of moving geometrical figures.     

Effect of Film Velocity on Genre Recognition

Abstract

In this study effects of film velocity on genre recognition were tested. “Happy reunion” film scenes were taken from comic, action, drama, and nonfiction genres. Their speed was varied to result in 3 levels: original velocity, acceleration by one third, and deceleration by one third. Fifty participants judged the fittingness of all scenes in each of the 4 genres. Velocity proved to be an effective parameter in the recognition of the comical and dramatic genres but not of the action and nonfiction genres. As predicted, when a scene belonging to any genre was decelerated, participants judged the scene as belonging more to the dramatic genre (p < .01) and less to the comic genre (p < .01). Acceleration of a scene belonging to any genre increased its comical fittingness (p < .05). The role of prototypicality of scenes in the interaction with velocity turned out to be only modest. In a few cases genre crossings (i.e., confusing a scene's genre with another in recognition) resulted from velocity manipulations of nonprototypical but not prototypical scenes.     

Perceived causality occurs with stroboscopic movement of one or both stimulus elements

It was shown by magnitude estimation that the perception of causality first described by Michotte (1946/1963) also occurs consistently and strongly with stroboscopic, ie apparent or phi, movement. This is so when the 'causal' movement is stroboscopic and the 'caused' movement real, when these movements are reversed, and when both movements are stroboscopic. The effect is not due to prior experience with Michotte-type displays.     

Variations in the Gender-Stereotyped Content of Children's Television Cartoons Across Genres

This study examined the gender-stereotyped content of children's TV network cartoons across 4 genres: traditional adventure (e.g., "Spiderman"), nontraditional adventure (e.g., "Reboot"), educational/family (e.g., "Magic School Bus"), and comedy ("Animaniacs"). Acting negatively, showing physical aggression, and being a victim were significantly less likely in the educational/family genre cartoons than any of the other three genres. Demonstrating romantic behavior was significantly more likely in the traditional adventure and the comedy genres than the other genres. Male characters were represented in cartoons significantly more than were female characters, but only in the traditional adventure and the comedy genres. Male characters were more likely than were female characters to use physical aggression, but only in the traditional adventure genre. Behaviors that were relatively more likely among female characters across genres included showing fear, acting romantic, being polite, and acting supportive. Most of the significant differences were also associated with very large effect sizes.     

Gender Roles in Tween Television Programming: A Content Analysis of Two Genres

This content analysis of gender role portrayals in 49 episodes of 40 distinct United States tween television programs aired in 2011 examined two genres: teen scene (geared towards girls) and action-adventure (geared towards boys). This programming is of interest because tweens are a lucrative market, they watch more television than any other age group, and television programs are created specifically for them. Furthermore, members of this special group are in an important developmental stage in which social and intellectual schema are established and identity and gender are explored. The analysis focused on the numbers of male and female characters in both genres, and the gender role portrayals of characters in terms of appearance, behaviors, and personality characteristics in the two genres. Results show that females, compared to the U.S. population, were underrepresented in the action adventure genre, but that the gender distribution in the teen scene genre mirrored the male–female distribution in the U.S. population. Overall, compared to males, females were more attractive, more concerned about their appearance, received comments about their “looks.” Females were presented similarly in both genres. Overall, males were shown in varying levels of attractiveness, and were portrayed more stereotypically in the action adventure genre. Exploring these results through the lenses of cultivation theory and social cognitive theory shows that tween viewers could potentially develop narrow conceptions about their range of possibilities in the world.     

Bookworms versus nerds: Exposure to fiction versus non-fiction,divergent associations with social ability,and the simulation of fictional social worlds

While frequent readers are often stereotyped as socially awkward, this may only be true of non-fiction readers and not readers of fiction. Comprehending characters in a narrative fiction appears to parallel the comprehension of peers in the actual world, while the comprehension of expository non-fiction shares no such parallels. Frequent fiction readers may thus bolster or maintain their social abilities unlike frequent readers of non-fiction. Lifetime exposure to fiction and non-fiction texts was examined along with performance on empathy/social-acumen measures. In general, fiction print-exposure positively predicted measures of social ability, while non-fiction print-exposure was a negative predictor. The tendency to become absorbed in a story also predicted empathy scores. Participant age, experience with English, and intelligence (g) were statistically controlled.     

Animacy and propulsion in infancy: Tracking,waving and reaching to self-propelled and induced moving objects

Infants from 16 to 20 weeks were videotaped while being presented with objects traversing a 60 cm distance. Four conditions were tested: (1) induced movement, holding the object; (2) induced movement, pushing the object; (3) self-propelled mechanical movement, object moving by an internal clockwork; (4) self-propelled biological movement, animate object moving by internal impulse. In tracking, the self-propelled but inanimate and mechanically moving object with the more straight and predictable trajectory attracted most visual attention. In arm movements, the self-propelled but relatively unpredictably moving animate object was reliably distinguished from inanimate objects. It appeared that the action system was less dependent on objects taking a straight and predictable course. Emerging with the onset of goal-directed reaches, the distinction of an internal locus of propulsion in objects was overriding the nearly exclusive response towards animacy occurring in waving. Thus, a distinction of different types of object motion could be found in infants’ developing action system.     

Eye Movements and Visual Encoding During Scene Perception

ABSTRACT— The amount of time viewers could process a scene during eye fixations was varied by a mask that appeared at a certain point in each eye fixation. The scene did not reappear until the viewer made an eye movement. The main finding in the studies was that in order to normally process a scene, viewers needed to see the scene for at least 150 ms during each eye fixation. This result is surprising because viewers can extract the gist of a scene from a brief 40- to 100-ms exposure. It also stands in marked contrast to reading, as readers need only to view the words in the text for 50 to 60 ms to read normally. Thus, although the same neural mechanisms control eye movements in scene perception and reading, the cognitive processes associated with each task drive processing in different ways.     

Launching the effect: Representations of causal movements are influenced by what they lead to

We investigated whether the representation of an observed causal movement is influenced by its observed effect. Subjects watched displays showing collisions between two objects. In this 'launching event' (Michotte, 1946/1963), one of the two objects (Object A) started to move and set a second, initially stationary, object (Object B) into motion, which gave a strong impression of apparent causality. The apparent effectiveness of A's movement was manipulated by varying the velocities of A and B. When the velocity of B was higher than that of A, the effectiveness of the collision was high; when it was smaller it was low. Then, subjects were asked to reproduce the velocity of the causal movement. Reproduced velocity followed the velocity of both Object A and Object B, which supports the hypothesis that the effect of a movement is integrated with its apparent cause. However, when apparent causality was reduced by changing the direction of motion of B or by covering the point of collision, the influence of the effect on the representation of the cause persisted, suggesting that retroactive interference may account for the findings. The interference effect could not be reduced to temporal recency or spatial integration and was not obtained in the reverse temporal order (proactive interference). Rather, the two successive movements were blended in memory.     

Does Perceived Realism Really Matter in Media Effects?

Memory, perceived realism, and emotional responses to documentary and fictional film excerpts were investigated experimentally using adult participants. Documentary stimuli were perceived as more factual than their fiction counterparts at both semantic and syntactic levels. However, contrary to expectations, memory for visual and verbal information and the intensity of emotional reactions were greater overall for fiction films. Films whose content corresponded to well-known social themes and film genres also had a greater influence on memory and emotions. In general, it appears that perceived factuality does not have as compelling an influence on adults as it does on younger viewers. Results are interpreted in terms of the differences between cinematic attributes of documentary and fiction films and between the cognitive processes activated by these two film genres and by different themes.     

Eye movements and scene perception.

Research on eye movements and scene perception is reviewed. Following an initial discussion of some basic facts about eye movements and perception, the following topics are discussed: (I) the span of effective vision during scene perception, (2) the role of eye movements in scene perception, (3) integration of information across saccades, (4) scene context, object identification and eye movements, and (5) the control of eye movements. The relationship of eye movements during reading to eye movements during scene perception is considered. A preliminary model of eye movement control in scene perception is described and directions for future research are suggested.     

Phenomenal causation at a distance

The aim of this research was to study the finding by Michotte, that a moving object A can apparently produce movement in a projectile B without making contact with it.

The experiments confirm the existence of a causal impression of “pushing at a distance,” but they demonstrate that the greater the distance the smaller the chance that this impression will occur.

When it does, in fact, occur, it has the same characteristics, and is associated with the same experimental conditions, as the impression of “pushing with contact.”

Temporal continuity must obtain between the stopping of the moving object and the starting of the projectile; this refutes any theory positing that there is a “passage” of movement from one object to the other. The effects of differences in speed of movement, whether absolute or relative, are similar in both instances.

In general, however, it appears that distance slightly accentuates the segregation of the movements and that the temporal and kinematic conditions of integration require to be more favourable in the case of distance, if an impression of pushing is to be given which is as satisfying as that found in the case of direct contact.

The size of the Radius of Action, that is, the extent of the passive phase of the projectile, is of the same order in the two cases.

The results bring out the fundamentally temporal-kinematic nature of the perceptual pattern of pushing. They appear difficult to reconcile with an interpretation based on past experience, but tally with the theory of “Ampliation of Movement” put forward by Michotte. According to this theory the essential point lies in the phenomenal transitory belonging to A (the moving object) of the movement performed by B (the projectile).     

Parametric induction of animacy experience

Graphical displays of simple moving geometrical figures have been repeatedly used to study the attribution of animacy in human observers. Yet little is known about the relevant movement characteristics responsible for this experience. The present study introduces a novel parametric research paradigm, which allows for the experimental control of specific motion parameters and a predictable influence on the attribution of animacy. Two experiments were conducted using 3D computer animations of one or two objects systematically introducing variations in the following aspects of motion: directionality, discontinuity and responsiveness. Both experiments further varied temporal kinematics. Results showed that animacy experience increased with the time a moving object paused in the vicinity of a second object and with increasing complexity of interaction between the objects (approach and responsiveness). The experience of animacy could be successfully modulated in a parametric fashion by the systematic variation of comparably simple differential movement characteristics.     

Infants' categorization of novel objects with more or less obvious features

In five experiments, 14- to 15-month-old infants' categorization of objects on the basis of more or less obvious features was investigated. Using an object examining paradigm, a total of 200 infants were familiarized with novel objects that shared either more obvious features (i.e., easily visible) or less obvious features (i.e., accessible by lifting a flap), followed by an in-category object and an out-of-category object. When only perceptual information was available, infants formed a category on the basis of the more obvious features but not on the basis of the less obvious features (Experiments 1 and 3). When infants were provided with animacy cues and/or object names, they formed categories on the basis of either more or less obvious features (Experiments 2, 4, and 5). The results of these studies delineate the role of animacy cues and object names in establishing categories on the basis of less obvious features.     

Initial scene representations facilitate eye movement guidance in visual search

What role does the initial glimpse of a scene play in subsequent eye movement guidance? In 4 experiments, a brief scene preview was followed by object search through the scene via a small moving window that was tied to fixation position. Experiment 1 demonstrated that the scene preview resulted in more efficient eye movements compared with a control preview. Experiments 2 and 3 showed that this scene preview benefit was not due to the conceptual category of the scene or identification of the target object in the preview. Experiment 4 demonstrated that the scene preview benefit was unaffected by changing the size of the scene from preview to search. Taken together, the results suggest that an abstract (size invariant) visual representation is generated in an initial scene glimpse and that this representation can be retained in memory and used to guide subsequent eye movements.     

Launching, Entraining, and Representational Momentum: Evidence Consistent with an Impetus Heuristic in Perception of Causality

Displacements in the remembered location of stimuli in displays based on Michotte’s (1946/1963) launching effect and entraining effect were examined. A moving object contacted an initially stationary target, and the target began moving. After contacting the target, the mover became stationary (launching trials) or continued moving in the same direction and remained adjacent to the target (entraining trials). In launching trials, forward displacement was smaller for targets than for movers; in entraining trials, forward displacement was smaller for movers than for targets. Also, forward displacement was smaller for targets in launching trials than for targets in entraining trials. Data are consistent with a hypothesis that the launching effect involves an attribution that the mover imparted to the target a dissipating impetus that was responsible for target motion. Introspective experience of a perception of physical causality in the launching effect might result because behavior of movers and targets is consistent with that predicted by an impetus heuristic.