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  • Author: András Bálint Kovács x
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András Bálint Kovács

According to directors and directors of photography choosing the appropriate shot scale for a scene is primarily an issue of narrative function. However, especially in the practice of art cinema preference of specific shot scales may be an important indicator of a particular style. In some cases statistical analysis of overall shot scale distribution in films reveals consistent and recurrent patterns of shot scale distribution in an author's work. Such a consistency is surprising, because it cannot be the result of conscious decision. No filmmaker plans the proportion of each shot scale in a film. This article investigates a systematic variation of shot scale distribution (SSD) patterns disclosed in the films of Michelangelo Antonioni, and Ingmar Bergman, which raises a number of questions regarding the possible aesthetic and cognitive sources of such a regularity.

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András Bálint Kovács

Narrative understanding supposes the viewer's mental activity of constructing causal links, an activity biased by emotions and other mental or psychological circumstances, making the causal links we construct while watching the film sometimes quite different from those the viewers obtain as a consequence of a thorough logical analysis of a narrative. This article argues that this is not the difference between “misunderstanding” and “adequate understanding,” but rather the fact that the viewers cannot discount emotional bias when talking about narrative causality. Because most films are made to be seen and understood after one viewing, they are meant to be understood through emotionally biased causal inference rather than by the pure analytical mind. In order to understand how emotionally biased causal thinking works, it is necessary to conduct empirical research with real audiences. Theories of narrative understanding can only be corroborated by such empirical research.