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.
András Bálint Kovács
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.
Gal Raz, Giancarlo Valente, Michele Svanera, Sergio Benini, and András Bálint Kovács
This article provides evidence for the existence of a robust “brainprint” of cinematic shot-scales that generalizes across movies, genres, and viewers. We applied a machine-learning method on a dataset of 234 fMRI scans taken during the viewing of a movie excerpt. Based on a manual annotation of shot-scales in five movies, we generated a computational model that predicts time series of this feature. The model was then applied on fMRI data obtained from new participants who either watched excerpts from the movies or clips from new movies. The predicted shot-scale time series that were based on our model significantly correlated with the original annotation in all nine cases. The spatial structure of the model indicates that the empirical experience of cinematic close-ups correlates with the activation of the ventral visual stream, the centromedial amygdala, and components of the mentalization network, while the experience of long shots correlates with the activation of the dorsal visual pathway and the parahippocampus. The shot-scale brainprint is also in line with the notion that this feature is informed among other factors by perceived apparent distance. Based on related theoretical and empirical findings we suggest that the empirical experience of close and far shots implicates different mental models: concrete and contextualized perception dominated by recognition and visual and semantic memory on the one hand, and action-related processing supporting orientation and movement monitoring on the other