Who is the director of this movie? Automatic style recognition based on shot features

We show how low-level formal features, such as shot duration, meant as length of camera takes, and shot scale, i.e. the distance between the camera and the subject, are distinctive of a director's style in art movies. So far such features were thought of not having enough varieties to become distinctive of an author. However our investigation on the full filmographies of six different authors (Scorsese, Godard, Tarr, Fellini, Antonioni, and Bergman) for a total number of 120 movies analysed second by second, confirms that these shot-related features do not appear as random patterns in movies from the same director. For feature extraction we adopt methods based on both conventional and deep learning techniques. Our findings suggest that feature sequential patterns, i.e. how features evolve in time, are at least as important as the related feature distributions. To the best of our knowledge this is the first study dealing with automatic attribution of movie authorship, which opens up interesting lines of cross-disciplinary research on the impact of style on the aesthetic and emotional effects on the viewers

Movies and meaning: from low-level features to mind reading

When dealing with movies, closing the tremendous discontinuity between low-level features and the richness of semantics in the viewers' cognitive processes, requires a variety of approaches and different perspectives. For instance when attempting to relate movie content to users' affective responses, previous work suggests that a direct mapping of audio-visual properties into elicited emotions is difficult, due to the high variability of individual reactions. To reduce the gap between the objective level of features and the subjective sphere of emotions, we exploit the intermediate representation of the connotative properties of movies: the set of shooting and editing conventions that help in transmitting meaning to the audience. One of these stylistic feature, the shot scale, i.e. the distance of the camera from the subject, effectively regulates theory of mind, indicating that increasing spatial proximity to the character triggers higher occurrence of mental state references in viewers' story descriptions. Movies are also becoming an important stimuli employed in neural decoding, an ambitious line of research within contemporary neuroscience aiming at "mindreading". In this field we address the challenge of producing decoding models for the reconstruction of perceptual contents by combining fMRI data and deep features in a hybrid model able to predict specific video object classes

Transfer learning of deep neural network representations for fMRI decoding

Background: Deep neural networks have revolutionised machine learning, with unparalleled performance in object classification. However, in brain imaging (e.g., fMRI), the direct application of Convolutional Neural Networks (CNN) to decoding subject states or perception from imaging data seems impractical given the scarcity of available data. New method: In this work we propose a robust method to transfer information from deep learning (DL) features to brain fMRI data with the goal of decoding. By adopting Reduced Rank Regression with Ridge Regularisation we establish a multivariate link between imaging data and the fully connected layer (fc7) of a CNN. We exploit the reconstructed fc7 features by performing an object image classification task on two datasets: one of the largest fMRI databases, taken from different scanners from more than two hundred subjects watching different movie clips, and another with fMRI data taken while watching static images. Results: The fc7 features could be significantly reconstructed from the imaging data, and led to significant decoding performance. Comparison with existing methods: The decoding based on reconstructed fc7 outperformed the decoding based on imaging data alone. Conclusion: In this work we show how to improve fMRI-based decoding benefiting from the mapping between functional data and CNN features. The potential advantage of the proposed method is twofold: the extraction of stimuli representations by means of an automatic procedure (unsupervised) and the embedding of high-dimensional neuroimaging data onto a space designed for visual object discrimination, leading to a more manageable space from dimensionality point of view