What would Jaws do? The tyranny of film and the relationship between gaze and higher-level narrative film comprehension

What is the relationship between film viewers’ eye movements and their film comprehension? Typical Hollywood movies induce strong attentional synchrony—most viewers look at the same things at the same time. Thus, we asked whether film viewers’ eye movements would differ based on their understanding—the mental model hypothesis—or whether any such differences would be overwhelmed by viewers’ attentional synchrony—the tyranny of film hypothesis. To investigate this question, we manipulated the presence/absence of prior film context and measured resulting differences in film comprehension and eye movements. Viewers watched a 12-second James Bond movie clip, ending just as a critical predictive inference should be drawn that Bond’s nemesis, “Jaws,” would fall from the sky onto a circus tent. The No-context condition saw only the 12-second clip, but the Context condition also saw the preceding 2.5 minutes of the movie before seeing the critical 12-second portion. Importantly, the Context condition viewers were more likely to draw the critical inference and were more likely to perceive coherence across the entire 6 shot sequence (as shown by event segmentation), indicating greater comprehension. Viewers’ eye movements showed strong attentional synchrony in both conditions as compared to a chance level baseline, but smaller differences between conditions. Specifically, the Context condition viewers showed slightly, but significantly, greater attentional synchrony and lower cognitive load (as shown by fixation probability) during the critical first circus tent shot. Thus, overall, the results were more consistent with the tyranny of film hypothesis than the mental model hypothesis. These results suggest the need for a theory that encompasses processes from the perception to the comprehension of film

Narrative comprehension guides eye movements in the absence of motion

Viewers’ attentional selection while looking at scenes is affected by both top-down and bottom-up factors. However, when watching film, viewers typically attend to the movie similarly irrespective of top-down factors – a phenomenon we call the Tyranny of Film. A key difference between still pictures and film is that film contains motion, which is a strong attractor of attention, and highly predictive of gaze during film viewing. The goal of the present study was to test if the Tyranny of Film is driven by motion. To do this, we created a slideshow presentation of the opening scene of Touch of Evil. Context condition participants watched the full slideshow. No-context condition participants did not see the opening portion of the scene, which showed someone placing a time-bomb into the trunk of a car. In prior research, we showed that despite producing very different understandings of the clip, this manipulation did not affect viewers’ attention (i.e., the Tyranny of Film), as both Context and No-context participants were equally likely to fixate on the car with the bomb when the scene was presented as a film. The current study found that when the scene was shown as a slideshow, the context manipulation produced differences in attentional selection (i.e., it attenuated attentional synchrony). We discuss these results in the context of the Scene Perception & Event Comprehension Theory (SPECT), which specifies the relationship between event comprehension and attentional selection in the context of visual narratives

Viewing static visual narratives through the lens of the Scene Perception and Event Comprehension Theory (SPECT)

Book synopsis: This edited volume brings together work in the field of empirical comics research. Drawing on computer and cognitive science, psychology and art history, linguistics and literary studies, each chapter presents innovative methods and establishes the practical and theoretical motivations for the quantitative study of comics, manga, and graphic novels. Individual chapters focus on corpus studies, the potential of crowdsourcing for comics research, annotation and narrative analysis, cognitive processing and reception studies. This volume opens up new perspectives for the study of visual narrative, making it a key reference for anyone interested in the scientific study of art and literature as well as the digital humanities