We selected 24 Hollywood movies released from 1940 through 2010 to serve as a film corpus. Eight viewers, three per film, parsed them into events, which are best termed subscenes. While watching a film a second time, viewers scrolled through frames and recorded the frame number where each event began. Viewers agreed about 90% of the time. We then analyzed the data as a function of a number of visual variables: shot transitions, shot duration, shot scale, motion, luminance, and color across shots within and across events, and a code that noted changes in place or time. We modeled viewer parsings across all shots of each film and found that, as an ensemble, the visual variables accounted for about 30% of the variance in the data, even without considering the soundtrack. Adding a code recording place and/or time change increases this variance to about 50%. We conclude that there is ample perceptual information for viewers to parse films into events without necessarily considering the intentions and goals of the actors, although these are certainly needed to understand the story of the film.

We measured 160 English-language films released from 1935 to 2010 and found four changes. First, shot lengths have gotten shorter, a trend also reported by others. Second, contemporary films have more motion and movement than earlier films. Third, in contemporary films shorter shots also have proportionately more motion than longer shots, whereas there is no such relation in older films. And finally films have gotten darker. That is, the mean luminance value of frames across the length of a film has decreased over time. We discuss psychological effects associated with these four changes and suggest that all four linear trends have a single cause: Filmmakers have incrementally tried to exercise more control over the attention of filmgoers. We suggest these changes are signatures of the evolution of popular film; they do not reflect changes in film style.

Three experiments assessed the influence of the Ebbinghaus illusion on size judgments that preceded verbal, grasp, or touch responses. Prior studies have found reduced effects of the illusion for the grip-scaling component of grasping, and these findings are commonly interpreted as evidence that different visual systems are employed for perceptual judgment and visually guided action. In the current experiments, the magnitude of the illusion was reduced by comparable amounts for grasping and for judgments that preceded grasping (Experiment 1). A similar effect was obtained prior to reaching to touch the targets (Experiment 2). The effect on verbal responses was apparent even when participants were simply instructed that a target touch task would follow the verbal task. After participants had completed a grasping task, the reduction in the magnitude of the illusion remained for a subsequent verbal-response judgment task (Experiment 3). Overall, the studies demonstrate strong connections between action planning and perception.

The structure of Hollywood film has changed in many ways over the last 75 years, and much of that change has served to increase the engagement of viewers' perceptual and cognitive processes. We report a new physical measure for cinema-the visual activity index (VAI)-that reflects one of these changes. This index captures the amount of motion and movement in film. We define whole-film VAI as (1-median r), reflecting the median correlation of pixels in pairs of near-adjacent frames measured along the entire length of a film or film sequence. Analyses of 150 films show an increase in VAI from 1935 to 2005, with action and adventure films leading the way and with dramas showing little increase. Using these data and those from three more recent high-intensity films, we explore a possible perceptual and cognitive constraint on popular film: VAI as a function of the log of sequence or film duration. We find that many "queasicam" sequences, those shot with an unsteady camera, often exceed our proposed constraint.

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