Synchronization among Groups of Spectators for Highlight Detection in Movies

Muszyński, Michał; Κωστούλας, Θεόδωρος; Lombardo, Patrizia; Pun, Thierry; Chanel, Guillaume

doi:10.1145/2964284.2967229

Cited by 10 publications

(9 citation statements)

References 23 publications

(25 reference statements)

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“…The observed results are in line with previous research in aesthetic highlights detection (Kostoulas et al, 2015a,b;Muszynski et al, 2016). Specifically, it is indicated that electrodermal activity and acceleration signals can be used for detecting some types of highlights, especially the ones of H1 and H2, where the use of special effects, lightening techniques, and music are expected to significantly affect the reactions of the spectators.…”

Section: Discussionsupporting

confidence: 91%

“…More recent work toward detecting aesthetic highlights in movies included the definition and estimation of a reaction profile for identifying and interpreting aesthetic moments (Kostoulas et al, 2015a), or the utilization of dynamic time warping algorithm for the estimation of the relative physiological and behavioral changes among different spectators exposed to artistic content (Kostoulas et al, 2015b). Other efforts toward identifying synchronization among multiple spectators had been focused in representing physiological signals on manifolds (Muszynski et al, 2015) or on applying periodicity score to measure synchronization among groups of spectators' signals that cannot be identified by other measures (Muszynski et al, 2016). Further, recent attempts which study the correlation of the emotional responses with the physiological signals in a group setting had indicated that some emotional experiences are shared in the social context (Golland et al, 2015), whereas others were focused on analyzing arousal values and galvanic skin response while movie watching (Li et al, 2015) or on the identification of the movie genre in a controlled environment (Ghaemmaghami et al, 2015).…”

Section: Related Workmentioning

confidence: 99%

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Films, Affective Computing and Aesthetic Experience: Identifying Emotional and Aesthetic Highlights from Multimodal Signals in a Social Setting

et al. 2017

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Over the last years, affective computing has been strengthening its ties with the humanities, exploring and building understanding of people's responses to specific artistic multimedia stimuli. "Aesthetic experience" is acknowledged to be the subjective part of some artistic exposure, namely, the inner affective state of a person exposed to some artistic object. In this work, we describe ongoing research activities for studying the aesthetic experience of people when exposed to movie artistic stimuli. To do so, this work is focused on the definition of emotional and aesthetic highlights in movies and studies the people responses to them using physiological and behavioral signals, in a social setting. In order to examine the suitability of multimodal signals for detecting highlights, we initially evaluate a supervised highlight detection system. Further, in order to provide an insight on the reactions of people, in a social setting, during emotional and aesthetic highlights, we study two unsupervised systems. Those systems are able to (a) measure the distance among the captured signals of multiple people using the dynamic time warping algorithm and (b) create a reaction profile for a group of people that would be indicative of whether that group reacts or not at a given time. The results indicate that the proposed systems are suitable for detecting highlights in movies and capturing some form of social interactions across different movie genres. Moreover, similar social interactions during exposure to emotional and some types of aesthetic highlights, such as those corresponding to technical or lightening choices of the director, can be observed. The utilization of electrodermal activity measurements yields in better performances than those achieved when using acceleration measurements, whereas fusion of the modalities does not appear to be beneficial for the majority of the cases.

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Section: Discussionsupporting

confidence: 91%

Section: Related Workmentioning

confidence: 99%

Films, Affective Computing and Aesthetic Experience: Identifying Emotional and Aesthetic Highlights from Multimodal Signals in a Social Setting

et al. 2017

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“…For example, non-expert listeners can spontaneously perceive the patterns of coordination that musicians create together when improvising along a backing track; this perception influences listeners' explicit appreciation of the recordings aesthetic features 26 . Furthermore, the occurrence of spectators' synchronized behaviors and physiological reactions is linked to the presence of emotional and aesthetic highlights in a movie 27,28 . Despite these supporting results, no study has directly investigated the potential link between spectators' synchrony and their explicit ratings of the emotional intensity attributed to the shared artistic experience.…”

mentioning

confidence: 99%

Audience spontaneous entrainment during the collective enjoyment of live performances: physiological and behavioral measurements

Ardizzi

Calbi

Tavaglione

et al. 2020

Sci Rep

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cardiac synchrony is a crucial component of shared experiences, considered as an objective measure of emotional processes accompanying empathic interactions. no study has investigated whether cardiac synchrony among people engaged in collective situations links to the individual emotional evaluation of the shared experience. We investigated theatrical live performances as collective experiences evoking strong emotional engagement in the audience. Cross Recurrence Quantification Analysis was applied to obtain the cardiac synchrony of twelve spectators' quartets attending to two live acting performances. this physiological measure was then correlated with spectators' emotional intensity ratings. Results showed an expected increment in synchrony among people belonging to the same quartet during both performances attendance and rest periods. furthermore, participants' cardiac synchrony was found to be correlated with audience's convergence in the explicit emotional evaluation of the performances they attended to. These findings demonstrate that the mere co-presence of other people sharing a common experience is enough for cardiac synchrony to occur spontaneously and that it increases in function of a shared and coherent explicit emotional experience. Collective experiences are ubiquitous aspects of human culture where emotional activity finds its breeding epicenter. Being involved in collective events, like religious rituals, parades or team sports, fosters prosociality 1 and contributes to the creation of emotional bonds among group members 2. Coherently, it has been shown that the presence of others modulates how individuals feel, express and perceive emotions 3. Amongst the various group experiences populating our social life, specific forms of "collective art" can be included. Indeed, even if some forms of art can be described as "individual", in the sense that usually people enjoy them alone, others are commonly appreciated together with other people. This is the case of several performative arts (e.g., theatre, dance, music) in which people share the artistic experience as part of a group. Studies show that people react differently to these forms of art if they enjoy them alone or with others, suggesting that the presence of others plays a role. For example, at the autonomic level, people react more to music when they are alone than when are in a group 4,5. Differently, watching an aggressive movie clip modulates spectator's subsequent behaviors, on the basis of the attitude of the co-spectators 6. Furthermore, how people react to the mere presence of others influences their parasympathetic response to shared filmic experience 7. One interesting component of collective experiences, that recently drew increasing attention, is the spontaneous synchronization among group members. Synchrony is a well-known phenomenon occurring at different levels (e.g., behavioral, physiological and neural), and it is related to the presence of similar reactions among group members within a short period of time. For example, people...

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“…To take into account that induced emotions are subjective, we included audience reaction based features, namely statistical features of physiological and behavioral reactions. Also, we assume that each person within a movie audience can display similar behaviors and have similar physiological responses when they are watching a movie together because [18], [50], [55], [56], [57]:…”

Section: Movie Audience Reaction Based Featuresmentioning

confidence: 99%

Recognizing Induced Emotions of Movie Audiences from Multimodal Information

Muszyński

Tian

Lai

et al. 2021

IEEE Trans. Affective Comput.

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Recognizing emotional reactions of movie audiences to affective movie content is a challenging task in affective computing. Previous research on induced emotion recognition has mainly focused on using audiovisual movie content. Nevertheless, the relationship between the perceptions of the affective movie content (perceived emotions) and the emotions evoked in the audiences (induced emotions) is unexplored. In this work, we studied the relationship between perceived and induced emotions of movie audiences. Moreover, we investigated multimodal modelling approaches to predict movie induced emotions from movie content based features, as well as physiological and behavioral reactions of movie audiences. To carry out analysis of induced and perceived emotions, we first extended an existing database for movie affect analysis by annotating perceived emotions in a crowd-sourced manner. We find that perceived and induced emotions are not always consistent with each other. In addition, we show that perceived emotions, movie dialogues, and aesthetic highlights are discriminative for movie induced emotion recognition besides spectators' physiological and behavioral reactions. Also, our experiments revealed that induced emotion recognition could benefit from including temporal information and performing multimodal fusion. Moreover, our work deeply investigated the gap between affective content analysis and induced emotion recognition by gaining insight into the relationships between aesthetic highlights, induced emotions, and perceived emotions.

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Synchronization among Groups of Spectators for Highlight Detection in Movies

Cited by 10 publications

References 23 publications

Films, Affective Computing and Aesthetic Experience: Identifying Emotional and Aesthetic Highlights from Multimodal Signals in a Social Setting

Films, Affective Computing and Aesthetic Experience: Identifying Emotional and Aesthetic Highlights from Multimodal Signals in a Social Setting

Audience spontaneous entrainment during the collective enjoyment of live performances: physiological and behavioral measurements

Recognizing Induced Emotions of Movie Audiences from Multimodal Information

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