A Salt and Battery

Bordwell, David; Thompson, Kristin

doi:10.1525/fq.1986.40.2.04a00130

Cited by 3 publications

(8 citation statements)

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“…In particular, it assumes that viewers abstract from the spatial attributes of dynamic scenes, thereby developing a viewpoint-independent mental representation (e.g., Carroll & Bever, 1976; Haberlandt, Berian, & Sandson, 1980; Newtson & Engquist, 1976). Finally, the film-form model rests on assumptions and rules of film practitioners and film theorists (e.g., Bordwell & Thompson, 1986), predicting that viewers try to establish a viewpoint dependent, spatially homogeneous representation, on the basis of the viewpoint from which the first part of an episode is presented.…”

Section: Discussionmentioning

confidence: 99%

“…This has long been recognized in film production, which developed the principle of reverse-angle shot to avoid this problem. A reverse-angle shot means that changes in viewpoint on a scene do not change lateral orientation of the depicted objects and differ less than 180° (Bordwell & Thompson, 1986; Kraft et al, 1991; Zettl, 1990). Again, this finding accords with the above consideration that for dynamic events it is not topological relations per se but rather their underlying functional significance that plays a major role in the formation of a respective cognitive representation.…”

Section: The Abstract Representation Of Dynamic Eventsmentioning

confidence: 99%

“…Here, a third possibility of cognitively representing the spatial layout of a given dynamic scene is favored. Whereas research with static objects assumes a multiple-view representation and research with dynamic events suggests an abstract, viewpoint-independent representation, most film scholars favor the notion of a single-view representation, even if a viewer is confronted with multiple views of that scene (Bordwell & Thompson, 1986).…”

Section: Spatial Representations Of Cinematic Event Depictionsmentioning

confidence: 99%

“…Subsequently, the camera “jumps” into the scene, depicting the event by frequently changing viewpoints that take shifts of activity into account. Occasionally, the original frame of reference may be shown by means of a reestablishing shot at the end (Bordwell, 1985; Bordwell & Thompson, 1986).…”

Section: Spatial Representations Of Cinematic Event Depictionsmentioning

confidence: 99%

“…In contrast, the dynamic-event model posits that viewers abstract information during learning of an event, thereby developing a viewpoint-independent representation (e.g., Carroll & Bever, 1976). Finally the film-form model rests on assumptions of film practitioners and predicts that viewers establish a viewpoint-dependent representation on the basis of the first viewpoint from which an episode is encountered and into which following viewpoints are transformed (e.g., Bordwell & Thompson, 1986).…”

mentioning

confidence: 99%

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Viewpoint dependency in the recognition of dynamic scenes.

Garsoffky

Schwan²,

Hesse³

2002

Journal of Experimental Psychology: Learning, Memory, and Cogni

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In 3 experiments, the question of viewpoint dependency in mental representations of dynamic scenes was addressed. Participants viewed film clips of soccer episodes from 1 or 2 viewpoints; they were then required to discriminate between video stills of the original episode and distractors. Recognition performance was measured in terms of accuracy and speed. The degree of viewpoint deviation between the initial presentation and the test stimuli was varied, as was both the point of time presented by the video stills and participants' soccer expertise. Findings suggest that viewers develop a viewpoint-dependent mental representation similar to the spatial characteristics of the original episode presentation, even if the presentation was spatially inhomogeneous.

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Section: Discussionmentioning

confidence: 99%

Section: The Abstract Representation Of Dynamic Eventsmentioning

confidence: 99%

Section: Spatial Representations Of Cinematic Event Depictionsmentioning

confidence: 99%

Section: Spatial Representations Of Cinematic Event Depictionsmentioning

confidence: 99%

mentioning

confidence: 99%

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Viewpoint dependency in the recognition of dynamic scenes.

Garsoffky

Schwan²,

Hesse³

2002

Journal of Experimental Psychology: Learning, Memory, and Cogni

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Migrating Methods in a Pandemic: Virtual Participatory Video with Migrants in Hong Kong

Ham

Lin

Sunuwar

2022

International Journal of Qualitative Methods

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Can methods travel the way migrants do? We reflect on this question through the development of what we call ‘virtual participatory video’ or the delivery of participatory video methods for migrant domestic workers and asylum-seekers in Hong Kong – transnationally, online and over Zoom during the pandemic in 2020. The pandemic realities that we grappled with as migration studies scholars and participatory video practitioners reflect realities that working-class and precarious migrants were routinely required to navigate long before the pandemic (e.g., family separation, restriction of personal mobility, maintaining connection through technology). Therefore, we paid particular attention to the challenges and opportunities posed by virtual participatory video, particularly on resultant changes to attention, creativity, and relationality (core tenets of face-to-face participatory video) when time and space are, by necessity, fragmented. The fragmentation of time and space in virtual participatory video entailed a greater presence of migrant realities and demands into the method itself, perhaps most notably a tangible sense of competing demands that participants were expected to negotiate at any particular moment. Attentiveness to competing demands can be particularly valuable when working with members of communities that may experience varying forms of scarcity in relation to time or space, such as migrant domestic workers or asylum-seekers. Re-thinking fragmentation as part of the texture of virtual participatory video illustrated the durability of creativity when day-to-day realities are permitted to intrude on learning over Zoom.

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Combining timelining and storyboarding to create a novel method for INtervention DesIGn with stakehOlders: INDIGO

Birtwell

Morris

Armitage

2022

International Journal of Qualitative Methods

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Design is a key part of the healthcare intervention development process, yet it is often viewed as unclear, unstructured, and challenging. INDIGO (“INtervention DesIGn with stakehOlders”) is a new mixed method that brings structure and creativity to the healthcare intervention design process and facilitates a holistic perspective of complex interventions. INDIGO combines and adapts timelining and storyboarding and enables users to create a visual representation of a complex intervention. It comprises card storyboard tokens representing intervention elements that can be moved around on a timeline chart. We discuss the background and development of INDIGO, including existing mixed methods approaches to intervention design. We then provide examples of the use of INDIGO in two empirical studies that informed the development of a brief mindfulness-based intervention, illustrating how INDIGO supported the generation of new insights. We go on to discuss the practicalities, benefits and challenges of INDIGO, including feedback from study participants. This article contributes to the field of mixed methods research by extending the scope and utility of timelining and storyboarding, and by clearly describing INDIGO so the method can be used by other researchers or intervention developers.

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A Salt and Battery

Cited by 3 publications

References 0 publications

Viewpoint dependency in the recognition of dynamic scenes.

Viewpoint dependency in the recognition of dynamic scenes.

Migrating Methods in a Pandemic: Virtual Participatory Video with Migrants in Hong Kong

Combining timelining and storyboarding to create a novel method for INtervention DesIGn with stakehOlders: INDIGO

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