Aging and the segmentation of narrative film

The perception of event structure in continuous activity is important for everyday comprehension. Although the segmentation of experience into events is a normal concomitant of perceptual processing, previous research has shown age differences in the ability to perceive structure in naturalistic activity, such as a movie of someone washing a car. However, past research has also shown that older adults have a preserved ability to comprehend events in narrative text, which suggests that narrative may improve the event processing of older adults. This study tested whether there are age differences in event segmentation at the intersection of continuous activity and narrative: narrative film. Younger and older adults watched and segmented a narrative film, The Red Balloon, into coarse and fine events. Changes in situational features, such as changes in characters, goals, and objects predicted segmentation. Analyses revealed little age-difference in segmentation behavior. This suggests the possibility that narrative structure supports event understanding for older adults.     

You're a Good Structure,Charlie Brown: The Distribution of Narrative Categories in Comic Strips

Cohn's (2013) theory of “Visual Narrative Grammar” argues that sequential images take on categorical roles in a narrative structure, which organizes them into hierarchic constituents analogous to the organization of syntactic categories in sentences. This theory proposes that narrative categories, like syntactic categories, can be identified through diagnostic tests that reveal tendencies for their distribution throughout a sequence. This paper describes four experiments testing these diagnostics to provide support for the validity of these narrative categories. In Experiment 1, participants reconstructed unordered panels of a comic strip into an order that makes sense. Experiment 2 measured viewing times to panels in sequences where the order of panels was reversed. In Experiment 3, participants again reconstructed strips but also deleted a panel from the sequence. Finally, in Experiment 4 participants identified where a panel had been deleted from a comic strip and rated that strip's coherence. Overall, categories had consistent distributional tendencies within experiments and complementary tendencies across experiments. These results point toward an interaction between categorical roles and a global narrative structure.     

The Re-creation of the World: Filming Faith

This essay is about the connection of two worlds: the world "out there," and the re-created world seen on screen and experienced through religious myth and ritual. It is about the similarity between the way films are constructed and the way religious practices are constructed. Film and religion each begin with space and time, but re-create both: Film does this through cinematography, mise-en-scene, and editing, while religions achieve this by setting apart particular objects and periods of time, through the telling of stories, and the gathering together of people focused on a common object, text, or image. The hypothesis here is that by paying attention to the ways films are constructed, we can shed light on the ways religious myths and rituals are constructed, and vice versa.     

Visual Arguments in Film

Our aim is to point out some differences between verbal and visual arguments, promoting the rhetorical perspective of argumentation beyond the relevance of logic and pragmatics. In our view, if it is to be rational and successful, film as (visual) argumentation must be addressed to spectators who hold informed beliefs about the theme watched on the screen and the medium’s constraints and conventions. In our reflections to follow, we apply rhetorical analysis to film as a symbolic, human, and communicative act that may sometimes be understood as a visually laid out argument. As a mixture of visual, auditory, and verbal stimuli, film demands active and complex interpretation and (re)construction. Our suggestion is to focus on five different but interrelated elements. The reconstruction and evaluation of the visual argument will be based on those elements, and the whole process will be one of visual argumentation.

Sexual Subjectivity: A Semiotic Analysis of Girlhood, Sex, and Sexuality in the Film Juno

Historical approaches to girlhood provide a basis for understanding changing cultural ideologies of sex, sexuality, and youth. While situating sexual desire, biological possibilities, and social responses to girls’ engagement in sexual intercourse at the center of its plot, the film Juno depicts the transgressive sexual agency of a young girl without substantially disrupting longstanding discourses of femininity. Through an analysis of the semiotics of girlhood within the film, I argue that the girl figure in this representation signifies an amalgam of two traditionally dichotomized conceptions of “femininity.” Juno serves as a particularly intriguing example of the ways in which adolescent female sexuality is conceptualized within popular western culture during the early part of the 21st century.

The impact of continuity editing in narrative film on event segmentation

Filmmakers use continuity editing to engender a sense of situational continuity or discontinuity at editing boundaries. The goal of this study was to assess the impact of continuity editing on how people perceive the structure of events in a narrative film and to identify brain networks that are associated with the processing of different types of continuity editing boundaries. Participants viewed a commercially produced film and segmented it into meaningful events, while brain activity was recorded with functional magnetic resonance imaging (MRI). We identified three degrees of continuity that can occur at editing locations: edits that are continuous in space, time, and action; edits that are discontinuous in space or time but continuous in action; and edits that are discontinuous in action as well as space or time. Discontinuities in action had the biggest impact on behavioral event segmentation, and discontinuities in space and time had minor effects. Edits were associated with large transient increases in early visual areas. Spatial-temporal changes and action changes produced strikingly different patterns of transient change, and they provided evidence that specialized mechanisms in higher order perceptual processing regions are engaged to maintain continuity of action in the face of spatiotemporal discontinuities. These results suggest that commercial film editing is shaped to support the comprehension of meaningful events that bridge breaks in low-level visual continuity, and even breaks in continuity of spatial and temporal location.     

Eliciting positive,negative and mixed emotional states: A film library for affective scientists

We describe the creation of a film library designed for researchers interested in positive (amusing), negative (repulsive), mixed (amusing and repulsive) and neutral emotional states. Three hundred 20- to 33-second film clips videotaped by amateurs were selected from video-hosting websites and screened in laboratory studies by 75 female participants on self-reported amusement and repulsion (Experiments 1 and 2). On the basis of pre-defined cut-off values, 51 positive, 39 negative, 59 mixed and 50 neutral film clips were selected. These film clips were then presented to 411 male and female participants in a large online study to identify film clips that reliably induced the target emotions (Experiment 3). Depending on the goal of the study, researchers may choose positive, negative, mixed or neutral emotional film clips on the basis of Experiments 1 and 2 or Experiment 3 ratings.     

Violent Movies and Severe Acts of Violence: Sensationalism Versus Science

Violent media has often been blamed for severe violent acts. Following recent findings that violence in movies has increased substantially over the last few decades, this research examined whether such increases were related to trends in severe acts of violence. Annual rates of movie violence and gun violence in movies were compared to homicide and aggravated assault rates between the years of 1960 and 2012. Time series analyses found that violent films were negatively, although nonsignificantly, related to homicides and aggravated assaults. These nonsignificant negative relations remained present even after controlling for various extraneous variables. Results suggest that caution is warranted when generalizing violent media research, conducted primarily in laboratories and via questionnaires, to societal trends in violent behavior.     

Visual Narrative Structure

Narratives are an integral part of human expression. In the graphic form, they range from cave paintings to Egyptian hieroglyphics, from the Bayeux Tapestry to modern day comic books ( Kunzle, 1973 ; McCloud, 1993 ). Yet not much research has addressed the structure and comprehension of narrative images, for example, how do people create meaning out of sequential images? This piece helps fill the gap by presenting a theory of Narrative Grammar. We describe the basic narrative categories and their relationship to a canonical narrative arc, followed by a discussion of complex structures that extend beyond the canonical schema. This demands that the canonical arc be reconsidered as a generative schema whereby any narrative category can be expanded into a node in a tree structure. Narrative “pacing” is interpreted as a reflection of various patterns of this embedding: conjunction, left‐branching trees, center‐embedded constituencies, and others. Following this, diagnostic methods are proposed for testing narrative categories and constituency. Finally, we outline the applicability of this theory beyond sequential images, such as to film and verbal discourse, and compare this theory with previous approaches to narrative and discourse.