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The psychology of film: perceiving beyond the cut

The psychology of film: perceiving beyond the cut First-order editing violations in film refer either to small displacements of the camera position or to small changes of the image size. Second-order editing violations follow from a reversal of the camera position (reversed-angle shot), leading to a change of the left–right position of the main actors (or objects) and a complete change of the background. With third-order editing violations, the linear sequence of actions in the narrative story is not obeyed. The present experiment focuses on the eye movements following a new shot with or without a reversed-angle camera position. The findings minimize the importance of editing rules which require perceptually smooth transitions between shots; there is also no evidence that changes in the left–right orientation of objects in the scene disturb the visual processing of successive shots. The observed eye movements are due either to the redirecting of attention to the most informative part on the scene or to attention shifts by motion transients in the shot. There is almost no evidence for confusion and/or for activities to restore the spatial arrangement following the reversal of the left–right positions. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Psychological Research Springer Journals

The psychology of film: perceiving beyond the cut

Psychological Research , Volume 71 (4) – Oct 8, 2005

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References (28)

Publisher
Springer Journals
Copyright
Copyright © 2005 by Springer-Verlag
Subject
Psychology; Psychology, general
ISSN
0340-0727
eISSN
1430-2772
DOI
10.1007/s00426-005-0025-3
pmid
16215744
Publisher site
See Article on Publisher Site

Abstract

First-order editing violations in film refer either to small displacements of the camera position or to small changes of the image size. Second-order editing violations follow from a reversal of the camera position (reversed-angle shot), leading to a change of the left–right position of the main actors (or objects) and a complete change of the background. With third-order editing violations, the linear sequence of actions in the narrative story is not obeyed. The present experiment focuses on the eye movements following a new shot with or without a reversed-angle camera position. The findings minimize the importance of editing rules which require perceptually smooth transitions between shots; there is also no evidence that changes in the left–right orientation of objects in the scene disturb the visual processing of successive shots. The observed eye movements are due either to the redirecting of attention to the most informative part on the scene or to attention shifts by motion transients in the shot. There is almost no evidence for confusion and/or for activities to restore the spatial arrangement following the reversal of the left–right positions.

Journal

Psychological ResearchSpringer Journals

Published: Oct 8, 2005

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