Facial emotion recognition under different situational context revealed by eye tracking

Kuramochi, Hikaru; Hirayama, Taichi; Shoji, Hiroaki; Ozaki, Hisaki

doi:10.1016/j.ijpsycho.2014.08.874

Cited by 1 publication

(2 citation statements)

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“…The scene settings were also considered unintrusive (cf. Kuramochi et al, 2014). For natural film-viewing conditions, the film sequences consist of a mix of full shots, medium shots, and close-ups, which, to some extent, will also even out image composition as a factor in regard to eyelight.…”

Section: Methodsmentioning

confidence: 99%

“…Usually, people tend to start looking at the center of a face, including the eyes, and thereafter wander off to discover other features (Bindemann et al, 2009; Schurgin et al, 2014). However, how facial expressions are observed differs depending on what emotion is expressed (Lea et al, 2018) and in what context the person/face occurs (Kuramochi et al, 2014). Similarly, the viewer’s information processing regarding facially expressed emotions depends on his or her own mood (Schmid et al, 2011), which adds to the complexity of discerning the emotions of others.…”

Section: Introductionmentioning

confidence: 99%

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Eyelight enhances perceived emotional responses to cinema.

Swenberg¹,

Thedeby²,

Berg³

et al. 2022

Psychology of Aesthetics, Creativity, and the Arts

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Eyelight, in the eyes of a human portrayed on film, is a cinematographic means to augment the vividness of expressed emotions. This is used by both cinematographers and still photographers, and it is also expressed in Anglo-Saxon, Arabic, and Japanese literatures. Here, the effect of using eyelight in the cornea of the human eye on film is examined by eye-tracking individuals on a Swedish university campus, in order to study their perceptual responses to film characters with, or without, a glimpse of light in their eyes. The participants’ perceived capacity to discern the emotional states of the film characters was also tested. Eye-tracking data were analyzed for entry time, fixation time, dwell time, hit ratio, and revisitors, while emotional decoding was captured through a self-report survey and by open questions. Our results demonstrated that film viewers’ attention is captured 49% faster, and 11% less time is used per fixation to film characters’ eyes when eyelight is used. In addition, 58% of our participants claimed that emotions were easy to discern from eyes in the eyelight condition, whereas only 36% claimed that emotions were easy to discern under the no-eyelight condition. Although our results concern the subjective impression of one’s ability to discern the emotions of each film character, they offer preliminary support for the idea of using eyelight to enhance emotional communication in film and stills photography.

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Section: Methodsmentioning

confidence: 99%