Re‐Presentations of Space in Hollywood Movies: An Event‐Indexing Analysis

Popular movies present chunk‐like events (scenes and subscenes) that promote episodic, serial updating of viewers’ representations of the ongoing narrative. Event‐indexing theory would suggest that the beginnings of new scenes trigger these updates, which in turn require more cognitive processing. Typically, a new movie event is signaled by an establishing shot, one providing more background information and a longer look than the average shot. Our analysis of 24 films reconfirms this. More important, we show that, when returning to a previously shown location, the re‐establishing shot reduces both context and duration while remaining greater than the average shot. In general, location shifts dominate character and time shifts in event segmentation of movies. In addition, over the last 70 years re‐establishing shots have become more like the noninitial shots of a scene. Establishing shots have also approached noninitial shot scales, but not their durations. Such results suggest that film form is evolving, perhaps to suit more rapid encoding of narrative events.     

Narrative theory and the dynamics of popular movies

Popular movies grab and hold our attention. One reason for this is that storytelling is culturally important to us, but another is that general narrative formulae have been honed over millennia and that a derived but specific filmic form has developed and has been perfected over the last century. The result is a highly effective format that allows rapid processing of complex narratives. Using a corpus analysis I explore a physical narratology of popular movies—narrational structure and how it impacts us—to promote a theory of popular movie form. I show that movies can be divided into 4 acts—setup, complication, development, and climax—with two optional subunits of prolog and epilog, and a few turning points and plot points. In 12 studies I show that normative aspects in patterns of shot durations, shot transitions, shot scale, shot motion, shot luminance, character introduction, and distributions of conversations, music, action shots, and scene transitions reduce to 5 correlated stylistic dimensions of movies and can litigate among theories of movie structure. In general, movie narratives have roughly the same structure as narratives in any other domain—plays, novels, manga, folktales, even oral histories—but with particular runtime constraints, cadences, and constructions that are unique to the medium.     

Adult attachment and the perception of emotional expressions: probing the hyperactivating strategies underlying anxious attachment

According to adult attachment theory, individual differences in attachment-related anxiety reflect variation in individuals' vigilance to cues relevant to appraising and monitoring the availability and responsiveness of significant others. To investigate this assumption, the authors adopted a morph movie paradigm in which participants were shown movies of faces in which an emotional facial expression changed gradually to a neutral one (Study 1) or a neutral expression changed to an emotional one (Studies 2-4). Participants were asked to judge the point at which the emotional expression had disappeared or emerged, respectively. Individuals who were highly anxious with respect to attachment were more likely to perceive the offset (Study 1) as well as the onset (Studies 2 and 3) of the facial expressions of emotion earlier than other people. Moreover, this heightened state of vigilance may have led to poorer accuracy in judging facial expressions of emotion (Study 3), an effect that was reversed when anxious individuals were required to watch the movies for the same length of time as less anxious participants (Study 4). The results indicate that variation in attachment anxiety reflects, in part, differences in vigilance to cues of social and emotional significance.     

First‐time viewers' comprehension of films: Bridging shot transitions

Which perceptual and cognitive prerequisites must be met in order to be able to comprehend a film is still unresolved and a controversial issue. In order to gain some insights into this issue, our field experiment investigates how first‐time adult viewers extract and integrate meaningful information across film cuts. Three major types of commonalities between adjacent shots were differentiated, which may help first‐time viewers with bridging the shots: pictorial, causal, and conceptual. Twenty first‐time, 20 low‐experienced and 20 high‐experienced viewers from Turkey were shown a set of short film clips containing these three kinds of commonalities. Film clips conformed also to the principles of continuity editing. Analyses of viewers' spontaneous interpretations show that first‐time viewers indeed are able to notice basic pictorial (object identity), causal (chains of activity), as well as conceptual (links between gaze direction and object attention) commonalities between shots due to their close relationship with everyday perception and cognition. However, first‐time viewers' comprehension of the commonalities is to a large degree fragile, indicating the lack of a basic notion of what constitutes a film.     

Event segmentation and seven types of narrative discontinuity in popular movies

Using a sample of 24 movies I investigate narrative shifts in location, characters, and time frame that do and do not align with viewer segmentations of events (scenes and subscenes) in popular movies. Taken independently these dimensions create eight categories, seven of change and one of nonchange. Data show that the more dimensions that are changed the more viewers agree on their segmentations, although the nonadditive variations across the seven change types are large and systematic. Dissolves aid segmentation but over the last 70 years they have been used less and less by filmmakers, except for two infrequent shift types. Locations and characters are strongly yoked, jointly accounting for most narrative shifts. There are also interactions of shift types over the 70-year span and across genres, as well as differences that affect the scale of the establishing shot in a new scene. In addition, several aspects of the narratives of individual movies affect the distributions of shift types. Together these results suggest that there are at least four different signatures of narrative shifts to be found in popular movies — general patterns across time, patterns of historical change, genre-specific patterns, and film-specific patterns.     

A new method for assessing squash tactics using 15 court areas for ball locations

Tactics in squash have typically been assessed using the frequency of different shot types played at different locations on the court either without reference to other relevant information or on the basis of the preceding shot. This paper presents a new squash specific method for categorizing court locations in which the ball was played, a novel techniques for assessing the reliability of this method and presents typical shots responses in these new areas controlled for preceding shot as well as the time between shots and the handedness of the players. Twelve games were viewed using the SAGIT/Squash software and 2907 shots viewed a second time from a video image taken from behind the court with an overall agreement of 88.90% for the court location data and 99.52% for shot type. 3192 shots from 9 matches from the 2003 World Team Championships were analyzed in SAGIT/Squash. In the court areas analyzed between 2 and 7 shot responses were predominant suggesting tactical patterns were evident. This was supported by differences evident between shot responses played from the two back corners where the backhand side was characterized by a predominance of straight drives whereas straight and crosscourt drives were played on the forehand side. These results tended to confirm that tactics i.e., consistent shot types, are played although these are only apparent when factors that determine shot selection are accounted for. This paper has controlled for some of these factors but others need to be considered e.g., if individual player profiles are to be ascertained.     

When did her smile drop? Facial mimicry and the influences of emotional state on the detection of change in emotional expression

Participants in manipulated emotional states played computerised movies in which facial expressions of emotion changed into categorically different expressions. The participants' task was to detect the offset of the initial expression. An effect of emotional state was observed such that individuals in happy states saw the offset of happiness (changing into sadness) at an earlier point in the movies than did those in sad states. Similarly, sad condition participants detected the offset of a sad expression changing into a happy expression earlier than did happy condition participants. This result is consistent with a proposed role of facial mimicry in the perception of change in emotional expression. The results of a second experiment provide additional evidence for the mimicry account. The Discussion focuses on the relationship between motor behaviour and perception.     

How content and co‐viewers elicit emotional discomfort in moviegoing experiences: Where does the discomfort come from and how is it handled?

Although watching movies is typically enjoyable, they also can elicit discomfort. The present studies investigated what makes some moviegoing experiences emotionally uncomfortable. Using autobiographical memory (Study 1) and scenarios/vignettes methodology (Study 2), young adults remembered watching a movie that had made them uncomfortable or responded to scenarios about watching a particular type of movie with particular co‐viewers (e.g. violent movie with one's spouse). Movies eliciting discomfort were most often dramas (39%) or comedies (26%). Discomfort most often arose from content, particularly fairly explicit sex or violence, and secondarily from the presence of co‐viewers. Often the two interacted, for example, being uncomfortable watching explicit sex with one's parents. In terms of dealing with the discomfort, women were overall more direct and men more avoidant. A sizable minority was glad they had seen the film, in spite of the discomfort, and was open to seeing it again. Arguing from converging evidence, these different methodologies produced consistent results. Copyright © 2010 John Wiley & Sons, Ltd.     

Categorical perception of emotional facial expressions does not require lexical categories

Does our perception of others' emotional signals depend on the language we speak or is our perception the same regardless of language and culture? It is well established that human emotional facial expressions are perceived categorically by viewers, but whether this is driven by perceptual or linguistic mechanisms is debated. We report an investigation into the perception of emotional facial expressions, comparing German speakers to native speakers of Yucatec Maya, a language with no lexical labels that distinguish disgust from anger. In a free naming task, speakers of German, but not Yucatec Maya, made lexical distinctions between disgust and anger. However, in a delayed match-to-sample task, both groups perceived emotional facial expressions of these and other emotions categorically. The magnitude of this effect was equivalent across the language groups, as well as across emotion continua with and without lexical distinctions. Our results show that the perception of affective signals is not driven by lexical labels, instead lending support to accounts of emotions as a set of biologically evolved mechanisms.     

Television Exposure and Children's Decoding of Nonverbal Behavior1

Two studies considered the way in which the magnitude of exposure to television relates to children's understanding and interpretation of others' nonverbal behavior. In the first study, 6th graders made judgments regarding other children whose nonverbal facial behavior did not match their internal emotional state. Results showed that heavier television viewers held a less differentiated, more simplistic view of the consequences of nonverbal self-presentation strategies. In the second study, children in Grades 2 through 6 made judgments of others' nonverbal expressions of emotion. As predicted, heavier television viewers were better at decoding others' nonverbal expressions than lighter viewers, presumably because of their greater exposure to nonverbal displays of emotion on television. In addition, nonverbal decoding skills improved with age.     

TO CATCH THE SKY — THE JEWISH IDENTITY OF ISRAELIS

In the winter of 2000, Israel’s Channel 2 television presented the series To Catch the Sky. This series allows us to learn about the changes in the viewers’ — and especially the secular viewers’ — attitudes to the phenomenon of teshuvah. Studying the intentions of the programme’s creators, the narrative format, the mode of character design and, especially, the reception, reveals that To Catch the Sky is not only a family story, but, like many other Israeli dramas, also a dramatic document that faithfully represents the changes that have intensified among secular Israeli Jews in recent years. It is possible that the sadness expressed by many secular Israeli viewers at the separation of the parents at the end of the series is, perhaps unconsciously, an expression of grief over their weakening ties with Judaism.     

Tales from the Screen: Enduring Fright Reactions to Scary Media

This study was conducted to examine enduring fright reactions to mass media via recollective self-reports of a sample of undergraduates (average age 20.6 years) from two universities. Ninety percent (138 of 153) of the participants reported such a reaction. Most experiences occurred in childhood or adolescence, with 26.1% of the participants still experiencing residual anxiety at the time of measurement. More than half of the sample reported subsequent disturbances in sleeping or eating patterns, and a substantial proportion reported avoiding or dreading the situation depicted in the program or movie and mental preoccupation with the stimulus. Stimulus types were coded according to the jive categories of stimuli related to phobic reactions—animal, environmental, situational, blood/injection/injury, and "other" (disturbing sounds and distorted images)—described in the Diagnostic and Statistical Manual of Mental Disorders (DSM-IV; American Psychiatric Association, 1994). Almost all of the films or movies reported contained stimuli from at least one of these categories. Developmental differences were observed in both the types of stimuli that provoked fright responses and the coping strategies used by viewers.     

Common cues to emotion in the dynamic facial expressions of speech and song

Speech and song are universal forms of vocalization that may share aspects of emotional expression. Research has focused on parallels in acoustic features, overlooking facial cues to emotion. In three experiments, we compared moving facial expressions in speech and song. In Experiment 1, vocalists spoke and sang statements each with five emotions. Vocalists exhibited emotion-dependent movements of the eyebrows and lip corners that transcended speech–song differences. Vocalists’ jaw movements were coupled to their acoustic intensity, exhibiting differences across emotion and speech–song. Vocalists’ emotional movements extended beyond vocal sound to include large sustained expressions, suggesting a communicative function. In Experiment 2, viewers judged silent videos of vocalists’ facial expressions prior to, during, and following vocalization. Emotional intentions were identified accurately for movements during and after vocalization, suggesting that these movements support the acoustic message. Experiment 3 compared emotional identification in voice-only, face-only, and face-and-voice recordings. Emotion judgements for voice-only singing were poorly identified, yet were accurate for all other conditions, confirming that facial expressions conveyed emotion more accurately than the voice in song, yet were equivalent in speech. Collectively, these findings highlight broad commonalities in the facial cues to emotion in speech and song, yet highlight differences in perception and acoustic-motor production.     

The World of Mad Men: Power,Surface and Passion

Mad Men is disturbing to post-millennium viewers, particularly those of a “certain” age, on three counts. First, it invokes a particular historical context of gender oppression; second it captures the prevailing post-War injunction that emotional distress is unseemly and distasteful; and third, it captures the zeitgeist's celebration of surface over substance in relationship. However, just as disturbing as these historically situated interpersonal premises is the niggling question that each relationship pairing and each episode leaves with the viewer. To wit: How much of the disconnection and the unrequited longings are reflective of a particular historical era, and to what degree do they reflect timeless aspects of character and relationship? Thus Mad Men provides an exquisitely rendered sociocultural tableau in which the viewer struggles, however articulated or not, with one of the essential knots of psychoanalytic as well as couples treatment: the complicated interpenetration of culture and character, of time and timelessness.     

Representational momentum in dynamic facial expressions is modulated by the level of expressed pain: Amplitude and direction effects

Humans have developed a specific capacity to rapidly perceive and anticipate other people’s facial expressions so as to get an immediate impression of their emotional state of mind. We carried out two experiments to examine the perceptual and memory dynamics of facial expressions of pain. In the first experiment, we investigated how people estimate other people’s levels of pain based on the perception of various dynamic facial expressions; these differ both in terms of the amount and intensity of activated action units. A second experiment used a representational momentum (RM) paradigm to study the emotional anticipation (memory bias) elicited by the same facial expressions of pain studied in Experiment 1. Our results highlighted the relationship between the level of perceived pain (in Experiment 1) and the direction and magnitude of memory bias (in Experiment 2): When perceived pain increases, the memory bias tends to be reduced (if positive) and ultimately becomes negative. Dynamic facial expressions of pain may reenact an “immediate perceptual history” in the perceiver before leading to an emotional anticipation of the agent’s upcoming state. Thus, a subtle facial expression of pain (i.e., a low contraction around the eyes) that leads to a significant positive anticipation can be considered an adaptive process—one through which we can swiftly and involuntarily detect other people’s pain.     

Lights,camera, action: the role of editing and framing on the processing of filmed events

ABSTRACT

Filmmakers use various cinematic techniques in an effort to guide attention to certain aspects of these events. The present study was conducted to investigate how framing and editing can guide viewers’ attention toward character actions during event segmentation. Participants watched and segmented a movie that simultaneously showed two actors engaged in two related activities. Participants watched one of three versions of the movie: Static center version that did not foreground any character; Static off-center version that foregrounding one of the characters, and an edited version with a mix of shots that foregrounding both characters. Participants engaged in an event partonomy task in which they were asked to identify the boundaries between the events that were depicted in the movie. After watching the movie, they were asked to recall the events. The results showed converging evidence between the event segmentation and recall data, which both indicated that cinematic devices affect the perception and memory of the event structure depicted in the film.     

I Think We’re Alone Now: Solitary Social Behaviors in Adolescents with Autism Spectrum Disorder

Research into emotional responsiveness in Autism Spectrum Disorder (ASD) has yielded mixed findings. Some studies report uniform, flat and emotionless expressions in ASD; others describe highly variable expressions that are as or even more intense than those of typically developing (TD) individuals. Variability in findings is likely due to differences in study design: some studies have examined posed (i.e., not spontaneous expressions) and others have examined spontaneous expressions in social contexts, during which individuals with ASD—by nature of the disorder—are likely to behave differently than their TD peers. To determine whether (and how) spontaneous facial expressions and other emotional responses are different from TD individuals, we video-recorded the spontaneous responses of children and adolescents with and without ASD (between the ages of 10 and 17 years) as they watched emotionally evocative videos in a non-social context. Researchers coded facial expressions for intensity, and noted the presence of laughter and other responsive vocalizations. Adolescents with ASD displayed more intense, frequent and varied spontaneous facial expressions than their TD peers. They also produced significantly more emotional vocalizations, including laughter. Individuals with ASD may display their emotions more frequently and more intensely than TD individuals when they are unencumbered by social pressure. Differences in the interpretation of the social setting and/or understanding of emotional display rules may also contribute to differences in emotional behaviors between groups.     

The impact of empathy and reappraisal on emotional intensity recognition

Empathy represents a fundamental ability that allows for the creation and cultivation of social bonds. As part of the empathic process, individuals use their own emotional state to interpret the content and intensity of other people’s emotions. Therefore, the current study was designed to test two hypotheses: (1) empathy for the pain of another will result in biased emotional intensity judgment; and (2) changing one’s emotion via emotion regulation will modulate these biased judgments. To test these hypotheses, in experiment one we used a modified version of a well-known task that triggers an empathic reaction We found that empathy resulted in biased emotional intensity judgment. To the best of our knowledge, this is the first demonstration of a bias in the recognition of emotional facial expressions as a function of empathy for pain. In experiment two, we replicated these findings in an independent sample, and further found that this biased emotional intensity judgment can be moderated via reappraisal. Taken together, our findings suggest that the novel task used here can be employed to further explore the relation between emotion regulation and empathy.     

Autobiographical Memories About the Experience of Seeing Frightening Movies in Childhood

Two autobiographical memory studies were conducted in order to better understand the social experience and short- and long-term effects of seeing frightening movies at a young age. Young adult participants (a) recalled the experience of watching a movie they had been frightened by as a child or teen, and (b) were assessed for levels of four kinds of dispositional empathy. They also reported who they watched the movie with, who chose it, what sorts of emotional reactions were experienced during viewing, and what negative effects they experienced following viewing. Participants typically remembered horror movies seen on video in the evening or at night at a mean age of 11 years. Results also showed that (a) fantasy empathy and perspective taking played a role in negative experiences; (b) some situational factors predicted later likelihood of viewing, anticipated fear; and enjoyment of the genre; and (c) a younger age at viewing and higher degree of perceived realism were associated with more negative effects of viewing.     

Actually in the Cinema: A Field Study Comparing Real 3D and 2D Movie Patrons' Attention,Emotion, and Film Satisfaction

While 3D movies and fantasy film genre rise in popularity, the empirical exploration of viewers' cognitive and emotional engagement with film is currently limited and entirely derived from laboratory-based studies of small samples. This study investigated the effect of stereoscopic realism (3D effect) on viewers' attention, emotion, and satisfaction by collecting data from 225 cinema patrons who were leaving the movie theatre having just viewed Thor. The viewers from the 3D condition rated their experience as more perceptually realistic and reported being less distracted during the film than their 2D counterparts. Yet no significant group differences were observed in self-reported emotional arousal or satisfaction with the whole experience. Further analysis revealed that perceptual realism was a better predictor of viewer satisfaction than emotional arousal. We consider the idea that these findings may be a function of the fantasy genre and call for researchers to extend this line of study.