Watching Film for the First Time

Schwan, Stephan; Ildırar, Sermin

doi:10.1177/0956797610372632

Cited by 51 publications

(23 citation statements)

References 16 publications

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“…There are filmic cuts, camera pans, and temporal ellipses. Although research has shown that filmic cuts including abrupt viewpoint changes hinder visual processing and affect memory for artificial dynamic scenes (Garsoffky, Huff, & Schwan, 2007;Huff, Jahn, & Schwan, 2009;Huff, Meyerhoff, Papenmeier, & Jahn, 2010), there is some evidence that experienced viewers have no problems in following a plot despite severe disruptions of the perceptual process (Germeys & d'Ydewalle, 2007;Huff & Schwan, 2012;Schwan & Ildirar, 2010;Smith & Henderson, 2008). Further, filmic cuts might disrupt the depicted action.…”

Section: Discussionmentioning

confidence: 97%

Changes in situation models modulate processes of event perception in audiovisual narratives.

Huff¹,

Meitz

Papenmeier³

2014

Journal of Experimental Psychology: Learning, Memory, and Cogni

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Humans understand text and film by mentally representing their contents in situation models. These describe situations using dimensions like time, location, protagonist, and action. Changes in 1 or more dimensions (e.g., a new character enters the scene) cause discontinuities in the story line and are often perceived as boundaries between 2 meaningful units. Recent theoretical advances in event perception led to the assumption that situation models are represented in the form of event models in working memory. These event models are updated at event boundaries. Points in time at which event models are updated are important: Compared with situations during an ongoing event, situations at event boundaries are remembered more precisely and predictions about what happens next become less reliable. We hypothesized that these effects depend on the number of changes in the situation model. In 2 experiments, we had participants watch sitcom episodes and measured recognition memory and prediction performance for event boundaries that contained a change in 1, 2, 3, or 4 dimensions. Results showed a linear relationship: the more dimensions changed, the higher recognition performance was. At the same time, participants' predictions became less reliable with an increasing number of dimension changes. These results suggest that updating of event models at event boundaries occurs incrementally.

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Section: Discussionmentioning

confidence: 97%

Changes in situation models modulate processes of event perception in audiovisual narratives.

Huff¹,

Meitz

Papenmeier³

2014

Journal of Experimental Psychology: Learning, Memory, and Cogni

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“…A recent study has shown that there is a difference between first time film viewers and experienced viewers in understanding viewpoint changes within a scene (Schwan & Ildirar, 2010). Whereas experienced viewers do understand such viewpoint changes first time viewers do not.…”

Section: Discussionmentioning

confidence: 98%

Eye movements across viewpoint changes in multiple object tracking

Huff¹,

Papenmeier²,

Jahn

et al. 2010

Visual Cognition

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Observers can visually track multiple objects that move independently even if the scene containing the moving objects is rotated in a smooth way. Abrupt scene rotations yield tracking more difficult but not impossible. For nonrotated, stable dynamic displays, the strategy of looking at the targets' centroid has been shown to be of importance for visual tracking. But which factors determine successful visual tracking in a nonstable dynamic display? We report two eye tracking experiments that present evidence for centroid looking. Across abrupt viewpoint changes, gaze on the centroid is more stable than gaze on targets indicating a process of realigning targets as a group. Further, we show that the relative importance of centroid looking increases with object speed.Watching and understanding a football game on television requires the ability to keep track of multiple moving objects: For example, in a scene in front of the goal, at least two players (offence and goal-keeper) and the ball have to be tracked. More complex situations (e.g., an off-side position) involve even more players. In contrast to real life scenarios, in television a tactic move (e.g., a counterattack) is often shown in sequential shots from

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“…In light of a recent study with film-illiterate viewers, which demonstrated that comprehending spatial relations between adjacent shots requires sufficient familiarity with films (Schwan & Ildirar, 2010), the interplay of the centerline rule and the spatial heuristic may be interpreted as a convention or as a kind of "contract" between filmmaker and viewer. We also speculate that the applicability of this heuristic instead of computationally demanding realignment is one of the reasons why sequences of shots in films are often experienced as continuous and film cuts often go unnoticed by the viewers (T. J.…”

Section: Discussionmentioning

confidence: 99%

Do not cross the line: Heuristic spatial updating in dynamic scenes

Huff

Schwan²

2012

Psychon Bull Rev

Self Cite

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In two experiments, we examined the spatial integration of two viewpoints onto dynamic scenes. We tested the spatial-alignment hypothesis (which predicts integration by alignment along the shortest path) against the spatialheuristic hypothesis (which predicts integration by observation of the left-right orientation on the screen). The stimuli consisted of film clips comprising two shots, each showing a car driving by. In Experiment 1, the dynamic scenes were ambiguous with regard to their interpretation: The cars could have been driving either in the same or in opposite directions. In line with the spatial-heuristic hypothesis, participants responded with "same direction" if the cars shared a screen direction. In Experiment 2, environmental cues disambiguated the dynamic scenes, and the screen direction of the cars was either congruent or incongruent with the depicted environmental cues. As compared with congruent dynamic scenes, incongruent dynamic scenes elicited prolonged reaction times, thus suggesting that heuristic spatial updating was used with congruent stimuli, whereas spatialalignment processes were used with incongruent stimuli.

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Watching Film for the First Time

Cited by 51 publications

References 16 publications

Changes in situation models modulate processes of event perception in audiovisual narratives.

Changes in situation models modulate processes of event perception in audiovisual narratives.

Eye movements across viewpoint changes in multiple object tracking

Do not cross the line: Heuristic spatial updating in dynamic scenes

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