The Attentional Theory of Cinematic Continuity

Smith, Tim J.

doi:10.3167/proj.2012.060102

Cited by 157 publications

(211 citation statements)

References 41 publications

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“…The attentional synchrony found in movies is partly due to a conventional editing style which takes advantage of our expectations about where things will be in the future (Smith, 2012). What drives the difference between attention in our original and random conditions in the present experiment?…”

Section: "mentioning

confidence: 78%

Reading Without Words: Eye Movements in the Comprehension of Comic Strips

Foulsham

Wybrow

Cohn³

2016

Applied Cognitive Psychology

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The study of attention in pictures is mostly limited to individual images. When we "read" a visual narrative (e.g., a comic strip), the pictures have a coherent sequence, but it is not known how this affects attention. In two experiments, we eyetracked participants in order to investigate how disrupting the visual sequence of a comic strip would affect attention.Both when panels were presented one at a time (Experiment 1) and when a sequence was presented all together (Experiment 2), pictures were understood more quickly and with fewer fixations when in their original order. When order was randomised, the same pictures required more attention and additional "regressions". Fixation distributions also differed when the narrative was intact, showing that context affects where we look. This reveals the role of top-down structures when we attend to pictorial information, as well as providing a springboard for applied research into attention within image sequences.3"

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Section: "mentioning

confidence: 78%

Reading Without Words: Eye Movements in the Comprehension of Comic Strips

Foulsham

Wybrow

Cohn³

2016

Applied Cognitive Psychology

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“…However, the opposite is true. The gaze of viewers is highly coordinated in dynamic scenes, a phenomenon called attentional synchrony (see Figure 4; Smith, 2006). This synchrony is manifest as the spontaneous clustering of the gaze positions across multiple viewers when free-viewing dynamic naturalistic scenes or edited sequences (Mital, et al, 2011).…”

Section: The Common Experience Of Visual Narrativementioning

confidence: 99%

A Window on Reality

Smith

Levin

Cutting

2012

Curr Dir Psychol Sci

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106

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Edited moving-images entertain, inform, and coerce us throughout our daily lives yet until recently how we perceive movies has received little psychological attention. We review the history of empirical investigations into movie perception and the recent explosion of new interest using methods including fMRI, eye tracking, corpus analysis, and computer vision. The Hollywood style of movie making, which permeates a wide range of visual media, has evolved formal conventions that are compatible with the natural dynamics of attention and our assumptions about continuity of space, time, and action. How we overcome the sensory differences between movies and reality provides an insight into how we use the same cognitive processes to perceive continuity in the real world.Abstract Word count = 113

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“…Watching TV, people normally concentrate their attention to faces, hands or the various movements of them (Smith 2012). The main subject should be aligned on the intersection of the vertical and horizontal lines, which divide the screen into nine equal parts for better composition, and this rule is called "Rule of Thirds" (Grill andScanlon 1983, Krages 2005).…”

Section: Literature Reviewmentioning

confidence: 99%

A Research on Curved Display Comparing to Flat Display Regarding Posture, Tilt Angle, Focusing Area and Satisfaction

Ahn¹,

Jin²,

Kwon³

et al. 2014

Journal of the Ergonomics Society of Korea

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Objectiv e: This study is conducted on the differences between flat and curved displays with respect to location of focused points, posture and satisfaction as well as preferred tilt angles. Background:In order to avoid physical and eye fatigue caused by misplayed sitting posture, many studies have asserted that the display requires appropriate location, size and tilt angle as well as curvature. However, most studies have focused on the work environment and the results are varied in the extent.Method: Eye height data in sitting posture were collected from 30 participants. Participants selected the most comfortable viewing angle within the range from 0°t o 12° while watching videos for both curved and flat display. Then, physical and eye fatigue and overall satisfaction were subjectively evaluated. Lateral diagram describing viewing display condition was set and used to develop linear models for expecting the preferred tilt angle.Results: Due to sitting in the natural viewing posture rather than upright, the eye height is lowered to about 4.6 centimeters, on average, for both displays showing no significant differences. In contrast, preferred angles for the two displays are significantly different and this can be interpreted that curvature vary the points focused. Two linear models as functions of sitting eye height are developed to expect preferred tilt angle for each display. Based on the result of overall satisfaction evaluation, curved display is statistically better than flat display. Conclusion:The results show that flat and curved displays are significantly different expect for the viewing posture. However, reasons for preferring curved display are not accurately factorized and the linear models are limited in the experiment condition such as size of display, distance between display and viewer and other physical environmental factors. Further studies on curved displays under more various conditions are required. Application:This study can contribute to use of the curved display in various way.

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The Attentional Theory of Cinematic Continuity

Cited by 157 publications

References 41 publications

Reading Without Words: Eye Movements in the Comprehension of Comic Strips

Reading Without Words: Eye Movements in the Comprehension of Comic Strips

A Window on Reality

A Research on Curved Display Comparing to Flat Display Regarding Posture, Tilt Angle, Focusing Area and Satisfaction

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