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When the Future Is Hard to Recall

Episodic Memory and Mnemonic Aids in Denis Villeneuve’s Arrival

Hannah Chapelle Wojciehowski

Jeffrey M. Zacks has argued that “a large part of what counts as perceiving and understanding a film is constructing a representation of the events the film depicts” (2013: 228). He has studied the ways in which film-makers signal event boundaries for

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“This Ticking Noise in My Head”

How Sound Design, Dialogue, Event Structure, and Viewer Working Memory Interact in the Comprehension of Touch of Evil (1958)

John P. Hutson, Joseph P. Magliano, Tim J. Smith, and Lester C. Loschky

event boundaries occurred. Here we report an exploratory analysis with an accompanying hypothesis to further explore unexpected results. Finally, we report whether segmentation agreement and/or working memory were related to the likelihood of generating

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Steven Eastwood

bewildering play of stilted and apparently unmotivated camera angles, fixation on repeated tracking moves and a complete disregard to conventional social event boundaries. There are unannounced entrances and exits and unnatural scene caps (many scenes start

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Gal Raz, Giancarlo Valente, Michele Svanera, Sergio Benini, and András Bálint Kovács

; Isik et al. 2017 ; Schultz et al. 2005 ). Large-scale activations across the STC were also observed specifically in the context of narrative processing and comprehension ( Szaflarski et al. 2012 ; Wilson et al. 2008 ) and narrative event boundaries