The evolution of pace in popular movies
Identifieur interne : 000018 ( Main/Exploration ); précédent : 000017; suivant : 000019The evolution of pace in popular movies
Auteurs : James E. Cutting [États-Unis]Source :
- Cognitive Research [ 2365-7464 ] ; 2016.
Abstract
Movies have changed dramatically over the last 100 years. Several of these changes in popular English-language filmmaking practice are reflected in patterns of film style as distributed over the length of movies. In particular, arrangements of shot durations, motion, and luminance have altered and come to reflect aspects of the narrative form. Narrative form, on the other hand, appears to have been relatively unchanged over that time and is often characterized as having four more or less equal duration parts, sometimes called
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DOI: 10.1186/s41235-016-0029-0
PubMed: 28180180
PubMed Central: 5256470
Affiliations:
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<record><TEI><teiHeader><fileDesc><titleStmt><title xml:lang="en">The evolution of pace in popular movies</title><author><name sortKey="Cutting, James E" sort="Cutting, James E" uniqKey="Cutting J" first="James E." last="Cutting">James E. Cutting</name><affiliation wicri:level="2"><nlm:aff id="Aff1">Department of Psychology, Cornell University, Uris Hall, 109 Tower Road, Ithaca, NY 14853-7601 USA</nlm:aff><country xml:lang="fr">États-Unis</country><placeName><region type="state">État de New York</region></placeName><wicri:cityArea>Department of Psychology, Cornell University, Uris Hall, 109 Tower Road, Ithaca</wicri:cityArea></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">PMC</idno><idno type="pmid">28180180</idno><idno type="pmc">5256470</idno><idno type="url">http://www.ncbi.nlm.nih.gov/pmc/articles/PMC5256470</idno><idno type="RBID">PMC:5256470</idno><idno type="doi">10.1186/s41235-016-0029-0</idno><date when="2016">2016</date><idno type="wicri:Area/Pmc/Corpus">000042</idno><idno type="wicri:explorRef" wicri:stream="Pmc" wicri:step="Corpus" wicri:corpus="PMC">000042</idno><idno type="wicri:Area/Pmc/Curation">000041</idno><idno type="wicri:explorRef" wicri:stream="Pmc" wicri:step="Curation">000041</idno><idno type="wicri:Area/Pmc/Checkpoint">000012</idno><idno type="wicri:explorRef" wicri:stream="Pmc" wicri:step="Checkpoint">000012</idno><idno type="wicri:Area/Ncbi/Merge">000168</idno><idno type="wicri:Area/Ncbi/Curation">000168</idno><idno type="wicri:Area/Ncbi/Checkpoint">000168</idno><idno type="wicri:Area/Main/Merge">000018</idno><idno type="wicri:Area/Main/Curation">000018</idno><idno type="wicri:Area/Main/Exploration">000018</idno></publicationStmt><sourceDesc><biblStruct><analytic><title xml:lang="en" level="a" type="main">The evolution of pace in popular movies</title><author><name sortKey="Cutting, James E" sort="Cutting, James E" uniqKey="Cutting J" first="James E." last="Cutting">James E. Cutting</name><affiliation wicri:level="2"><nlm:aff id="Aff1">Department of Psychology, Cornell University, Uris Hall, 109 Tower Road, Ithaca, NY 14853-7601 USA</nlm:aff><country xml:lang="fr">États-Unis</country><placeName><region type="state">État de New York</region></placeName><wicri:cityArea>Department of Psychology, Cornell University, Uris Hall, 109 Tower Road, Ithaca</wicri:cityArea></affiliation></author></analytic><series><title level="j">Cognitive Research</title><idno type="eISSN">2365-7464</idno><imprint><date when="2016">2016</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en"><p>Movies have changed dramatically over the last 100 years. Several of these changes in popular English-language filmmaking practice are reflected in patterns of film style as distributed over the length of movies. In particular, arrangements of shot durations, motion, and luminance have altered and come to reflect aspects of the narrative form. Narrative form, on the other hand, appears to have been relatively unchanged over that time and is often characterized as having four more or less equal duration parts, sometimes called <italic>acts</italic> – setup, complication, development, and climax. The altered patterns in film style found here affect a movie’s pace: increasing shot durations and decreasing motion in the setup, darkening across the complication and development followed by brightening across the climax, decreasing shot durations and increasing motion during the first part of the climax followed by increasing shot durations and decreasing motion at the end of the climax. Decreasing shot durations mean more cuts; more cuts mean potentially more saccades that drive attention; more motion also captures attention; and brighter and darker images are associated with positive and negative emotions. Coupled with narrative form, all of these may serve to increase the engagement of the movie viewer.</p></div></front><back><div1 type="bibliography"><listBibl><biblStruct><analytic><author><name sortKey="Barfield, W" uniqKey="Barfield W">W Barfield</name></author><author><name sortKey="Sheridan, T" uniqKey="Sheridan T">T Sheridan</name></author><author><name sortKey="Zeltzer, D" uniqKey="Zeltzer D">D Zeltzer</name></author><author><name sortKey="Slater, M" uniqKey="Slater M">M Slater</name></author></analytic></biblStruct><biblStruct><analytic><author><name sortKey="Barraza, Ja" uniqKey="Barraza J">JA Barraza</name></author><author><name sortKey="Alexander, V" uniqKey="Alexander V">V Alexander</name></author><author><name sortKey="Beavin, Le" uniqKey="Beavin L">LE Beavin</name></author><author><name sortKey="Terris, Et" uniqKey="Terris E">ET Terris</name></author><author><name sortKey="Zak, Pj" uniqKey="Zak P">PJ 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