Revisiting the Kuleshov Effect with First-Time Viewers

Ildırar, Sermin; Ewing, Louise

doi:10.3167/proj.2018.120103

Cited by 7 publications

(7 citation statements)

References 38 publications

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“…Although an early film theorist Yhcam recommended directors to avoid using medium long shots as well as close-ups frequently to make their films understandable and argued against American shot size (medium-long, 'knee' film shot) saying that such shots show people on the screen like disabled, majority of film makers in film history did not listen to him and contemporary adult viewers in Western countries seem to have no problem with making sense of such shot sizes (Abel 1912). The film illiterate adults, however, interpreted the medium shot size (showing only the upper part of depicted person) as it was showing the depicted person as sitting (although this was not the case, see Ildirar and Ewing 2018).…”

Section: What Are the Minimum Cognitive Skills Necessary For Babies To Perceive Movies?mentioning

confidence: 99%

How Infants Perceive Animated Films

kirbas¹,

Smith²

2018

Emotion in Animated Films

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Today, many infants begin consistently viewing videos at 4 to 9 months of age. Due to their reduced mobility and linguistic immaturity younger infants are good watchers, spending a lot of time sitting and watching the actions and (also emotional) reactions of both real and televised people as well as animated characters. Since babies can perceive the similarity between a 2-dimensional image and the real 3-dimensional entity that is depicted, they respond to the video image of another person with smiles and increased activity, much as they would to the actual person. Furthermore, emotional reaction of a televised person can influence their behaviour. Infant attention to films as to natural scenes begins by being stimulus-driven and progresses to top-down control as the child matures cognitively and acquires general world knowledge. The producers of infant-directed animations however use low-level visual features to guide infants' attention to semantic information which might explain infants' preference for them. In this chapter, we will discuss the developmental foundations of (animated) film cognition, focusing mainly on the perception of emotional cues based on recent empirical findings.

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Section: What Are the Minimum Cognitive Skills Necessary For Babies To Perceive Movies?mentioning

confidence: 99%

How Infants Perceive Animated Films

kirbas¹,

Smith²

2018

Emotion in Animated Films

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“…First-time viewers of film do have trouble perceiving spatiotemporal continuity in a scene that is put together adhering classic editing rules. Due to cuts and perspectival changes, such viewers do not perceive what is depicted before and after the cut as one and the same object ( Ildirar and Schwan, 2015 ; Ildirar and Ewing, 2018 ). One explanation for this is that first-time viewers perceive cuts as a strong distortion—not just as a perspectival shift displaying the same scene.…”

Section: Toward a New Cognitive Media Theorymentioning

confidence: 99%

Enacting Media. An Embodied Account of Enculturation Between Neuromediality and New Cognitive Media Theory

Fingerhut

2021

Front. Psychol.

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This paper argues that the still-emerging paradigm of situated cognition requires a more systematic perspective on media to capture the enculturation of the human mind. By virtue of being media, cultural artifacts present central experiential models of the world for our embodied minds to latch onto. The paper identifies references to external media within embodied, extended, enactive, and predictive approaches to cognition, which remain underdeveloped in terms of the profound impact that media have on our mind. To grasp this impact, I propose an enactive account of media that is based on expansive habits as media-structured, embodied ways of bringing forth meaning and new domains of values. We apply such habits, for instance, when seeing a picture or perceiving a movie. They become established through a process of reciprocal adaptation between media artifacts and organisms and define the range of viable actions within such a media ecology. Within an artifactual habit, we then become attuned to a specific media work (e.g., a TV series, a picture, a text, or even a city) that engages us. Both the plurality of habits and the dynamical adjustments within a habit require a more flexible neural architecture than is addressed by classical cognitive neuroscience. To detail how neural and media processes interlock, I will introduce the concept of neuromediality and discuss radical predictive processing accounts that could contribute to the externalization of the mind by treating media themselves as generative models of the world. After a short primer on general media theory, I discuss media examples in three domains: pictures and moving images; digital media; architecture and the built environment. This discussion demonstrates the need for a new cognitive media theory based on enactive artifactual habits—one that will help us gain perspective on the continuous re-mediation of our mind.

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“…In a subsequent study, Ildirar and Ewing (Ildirar & Ewing, 2018) replicated the Kuleshov effect experiment, categorizing participants into two groups: first-time viewers and experienced viewers. Ildirar edited emotional facial clips and emotional contextual clips together to investigate whether viewers constructed spatiotemporal links between the two clips, recognizing that the two clips conveyed a unified narrative.…”

Section: Introductionmentioning

confidence: 99%

“…While several earlier studies predominantly explored the Kuleshov effect from a film-centric perspective (Ekman, 1971; Ildirar & Ewing, 2018; Prince & Hensley, 1992), more recently investigations have employed the Kuleshov paradigm to scrutinize the contextual framing impact on facial emotion recognition from psychological perspective. Barratt et al (Barratt et al, 2016) conducted a study that investigated the influence of emotional contexts on facial stimuli using the Kuleshov paradigm.…”

Section: Introductionmentioning

confidence: 99%

“…Smith, 2012). The replication studies predominantly rely on isolated facial expressions and emotional scenes (Calbi et al, 2017; Ildirar & Ewing, 2018; Mullennix et al, 2019), overlooking the alignment between facial backgrounds and emotional scenes present in real-world film scenarios. This departure from authentic film scenarios may potentially compromise the robustness of the validation of the Kuleshov effect.…”

Section: Introductionmentioning

confidence: 99%

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Revisiting the Kuleshov effect with authentic films: A behavioral and fMRI study

Cao,

Wang,

et al. 2023

Preprint

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As a fundamental film theory, montage theory posits that film editing significantly influences the viewer’s perception. The Kuleshov effect, a central concept in montage theory, proposes that the emotional interpretation of neutral facial expressions is influenced by the accompanying emotional scene in a face-scene-face sequence. However, concerns persist regarding the validity of previous studies, often employing inauthentic film materials like static images, leaving the question of its existence in authentic films unanswered. This study addresses these concerns by utilizing authentic films in two experiments. In Experiment 1, multiple film clips were captured under the guidance of a professional film director and seamlessly integrated into authentic film sequences. A total of 59 participants viewed these face-scene-face film sequences and were tasked with rating the valence of neutral faces. The findings revealed that the interpretation of emotion in neutral faces is significantly influenced by the accompanying fearful or happy scene, eliciting perceptions of negative or positive emotion from the neutral face. These results affirm the existence of the Kuleshov effect within authentic film sequences. In Experiment 2, 31 participants engaged in a similar task under functional magnetic resonance imaging (fMRI). The results revealed neural correlates supporting the existence of the Kuleshov effect at a neural level. These correlates include the cuneus, precuneus, hippocampus, parahippocampal gyrus, post cingulate gyrus, orbitofrontal cortex, fusiform gyrus, and insula. These findings also underscore the contextual framing inherent in the Kuleshov effect. By seamlessly integrating film theory and cognitive neuroscience experiments, this comprehensive study provides robust evidence supporting the existence of the Kuleshov effect. It significantly enhances our understanding of film editing and its profound impact on viewers’ perception.

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Revisiting the Kuleshov Effect with First-Time Viewers

Cited by 7 publications

References 38 publications

How Infants Perceive Animated Films

How Infants Perceive Animated Films

Enacting Media. An Embodied Account of Enculturation Between Neuromediality and New Cognitive Media Theory

Revisiting the Kuleshov effect with authentic films: A behavioral and fMRI study

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