It has been suggested that computer interfaces could be made more usable if their designers utilized cinematography techniques, which have evolved to guide\ud the viewer through a narrative despite frequent discontinuities in the presented scene (i.e., cuts between shots). Because of differences between the domains of\ud film and interface design, it is not straightforward to understand how such techniques can be transferred. May and Barnard (1995) argued that a psychological\ud model of watching film could support such a transference. This article presents an extended account of this model, which allows identification of the practice of collocation\ud of objects of interest in the same screen position before and after a cut. To verify that filmmakers do, in fact, use such techniques successfully, eye movements\ud were measured while participants watched the entirety of a commerciall
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