The cinema as a cultural institution has been studied by academic researchers in the arts and hum... more The cinema as a cultural institution has been studied by academic researchers in the arts and humanities. At present, cultural media studies are the home to the aesthetics and critical analysis of film, film history and other branches of film scholarship. Probably less known to most is that research psychologists working in social and life science labs have also contributed to the study of the medium. They have examined the particular experience that motion pictures provide to the film audience and the mechanisms that explain the perception and comprehension of film, and how movies move viewers and to what effects. This article reviews achievements in psychological research of the film since its earliest beginnings in the 1910s. A leading issue in the research has been whether understanding films is a bottom-up process, or a top-down one. A bottom-up explanation likens film-viewing to highly automated detection of stimulus features physically given in the supply of images; a top-dow...
Abstract. Expressions of emotion abound in user-generated content, whether it be in blogs, review... more Abstract. Expressions of emotion abound in user-generated content, whether it be in blogs, reviews, or on social media. Much work has been devoted to detecting and classifying these emotions, but little of it has acknowledged the fact that emotionally charged text may express multiple emotions at the same time. We describe a new dataset of user-generated movie reviews annotated for emotional expressions, and experimentally validate two algorithms that can detect multiple emotions in each sentence of these reviews.
Laypeople are increasingly motivated to participate in design processes, but what knowledge do th... more Laypeople are increasingly motivated to participate in design processes, but what knowledge do they actually possess that enables such participation? Some studies show that laypeople have gained detailed product knowledge from exposure. This knowledge can be applied to accurately recognize product categories, and to manage emotional expectations. In the experiment presented here, we test if laypeople can apply product category knowledge to production tasks using an animation production toolkit designed by the authors. In a betweensubjects experiment, participants with and without production training produced 3D animations for four distinct genres—comedy, drama, action, and non-fiction. Their task was to deliver versions of a basic animation film by adapting the motion of the film’s central figure by using an interactive test device. This device allowed participants to control four parameters of figure motion: velocity, efficiency, fluency, and deformation. As predicted, the animatio...
Heuristiken der Literaturwissenschaft. Einladung zu disziplinexternen Perspektiven auf Literatur (eds: Uta Klein, Katja Mellmann, Steffanie Metzger), 2006
In this article we speculate that the human ability to metaphorize has adaptive value. Our argume... more In this article we speculate that the human ability to metaphorize has adaptive value. Our argument runs as follows: Darwinian survival requires adaptation; adaptation requires learn-ing; and learning crucially involves metaphorizing. To metaphorize is to map the meaning, emotions and/or attitudes associated with one, more or less familiar, conceptual domain (the source) onto another, more or less unfamiliar, conceptual domain (the target). Metaphors have survival value because they are economical and allow for the development of new perspectives. Since pleasure facilitates learning, we hypothesize that the aesthetic attractiveness of metaphors increases with the degree to which they obey the principle of minimum means for maximum effect. After showing that there is a continuum from entrenched or embodied metaphors to creative ones, we discuss our claims with reference to six case studies from the realm of advertising, design, and art.
In this study effects of film velocity on genre recognition were tested. “Happy reunion” film sce... more In this study effects of film velocity on genre recognition were tested. “Happy reunion” film scenes were taken from comic, action, drama, and nonfiction genres. Their speed was varied to result in 3 levels: original velocity, acceleration by one third, and deceleration by one third. Fifty participants judged the fittingness of all scenes in each of the 4 genres. Velocity proved to be an effective parameter in the recognition of the comical and dramatic genres but not of the action and nonfiction genres. As predicted, when a scene belonging to any genre was decelerated, participants judged the scene as belonging more to the dramatic genre (p < .01) and less to the comic genre (p < .01). Acceleration of a scene belonging to any genre increased its comical fittingness (p < .05). The role of prototypicality of scenes in the interaction with velocity turned out to be only modest. In a few cases genre crossings (i.e., confusing a scene's genre with another in recognition) resulted from velocity manipulations of nonprototypical but not prototypical scenes.
ABSTRACT This paper presents methods for moving image sequence visualization and browsing based o... more ABSTRACT This paper presents methods for moving image sequence visualization and browsing based on algorithms from computer vision, information visualization and on a hierarchical model for content semantics. We introduce a new method, OM-Images, for the visualization of temporal changes in a moving image sequence. Together with interactive browsing techniques the visualization methods can be used for the exploration of a movie at different levels of abstraction. The proposed levels of abstraction are the physical, image, object or discourse level. The visualization is used to generate (1) static descriptions, which printed on paper yield a “movie book” and (2) interactive documents, e.g. Web pages or special movie browsers. Finally, we give examples of a movie book of a feature length film
The cinema as a cultural institution has been studied by academic researchers in the arts and hum... more The cinema as a cultural institution has been studied by academic researchers in the arts and humanities. At present, cultural media studies are the home to the aesthetics and critical analysis of film, film history and other branches of film scholarship. Probably less known to most is that research psychologists working in social and life science labs have also contributed to the study of the medium. They have examined the particular experience that motion pictures provide to the film audience and the mechanisms that explain the perception and comprehension of film, and how movies move viewers and to what effects. This article reviews achievements in psychological research of the film since its earliest beginnings in the 1910s. A leading issue in the research has been whether understanding films is a bottom-up process, or a top-down one. A bottom-up explanation likens film-viewing to highly automated detection of stimulus features physically given in the supply of images; a top-dow...
Abstract. Expressions of emotion abound in user-generated content, whether it be in blogs, review... more Abstract. Expressions of emotion abound in user-generated content, whether it be in blogs, reviews, or on social media. Much work has been devoted to detecting and classifying these emotions, but little of it has acknowledged the fact that emotionally charged text may express multiple emotions at the same time. We describe a new dataset of user-generated movie reviews annotated for emotional expressions, and experimentally validate two algorithms that can detect multiple emotions in each sentence of these reviews.
Laypeople are increasingly motivated to participate in design processes, but what knowledge do th... more Laypeople are increasingly motivated to participate in design processes, but what knowledge do they actually possess that enables such participation? Some studies show that laypeople have gained detailed product knowledge from exposure. This knowledge can be applied to accurately recognize product categories, and to manage emotional expectations. In the experiment presented here, we test if laypeople can apply product category knowledge to production tasks using an animation production toolkit designed by the authors. In a betweensubjects experiment, participants with and without production training produced 3D animations for four distinct genres—comedy, drama, action, and non-fiction. Their task was to deliver versions of a basic animation film by adapting the motion of the film’s central figure by using an interactive test device. This device allowed participants to control four parameters of figure motion: velocity, efficiency, fluency, and deformation. As predicted, the animatio...
Heuristiken der Literaturwissenschaft. Einladung zu disziplinexternen Perspektiven auf Literatur (eds: Uta Klein, Katja Mellmann, Steffanie Metzger), 2006
In this article we speculate that the human ability to metaphorize has adaptive value. Our argume... more In this article we speculate that the human ability to metaphorize has adaptive value. Our argument runs as follows: Darwinian survival requires adaptation; adaptation requires learn-ing; and learning crucially involves metaphorizing. To metaphorize is to map the meaning, emotions and/or attitudes associated with one, more or less familiar, conceptual domain (the source) onto another, more or less unfamiliar, conceptual domain (the target). Metaphors have survival value because they are economical and allow for the development of new perspectives. Since pleasure facilitates learning, we hypothesize that the aesthetic attractiveness of metaphors increases with the degree to which they obey the principle of minimum means for maximum effect. After showing that there is a continuum from entrenched or embodied metaphors to creative ones, we discuss our claims with reference to six case studies from the realm of advertising, design, and art.
In this study effects of film velocity on genre recognition were tested. “Happy reunion” film sce... more In this study effects of film velocity on genre recognition were tested. “Happy reunion” film scenes were taken from comic, action, drama, and nonfiction genres. Their speed was varied to result in 3 levels: original velocity, acceleration by one third, and deceleration by one third. Fifty participants judged the fittingness of all scenes in each of the 4 genres. Velocity proved to be an effective parameter in the recognition of the comical and dramatic genres but not of the action and nonfiction genres. As predicted, when a scene belonging to any genre was decelerated, participants judged the scene as belonging more to the dramatic genre (p < .01) and less to the comic genre (p < .01). Acceleration of a scene belonging to any genre increased its comical fittingness (p < .05). The role of prototypicality of scenes in the interaction with velocity turned out to be only modest. In a few cases genre crossings (i.e., confusing a scene's genre with another in recognition) resulted from velocity manipulations of nonprototypical but not prototypical scenes.
ABSTRACT This paper presents methods for moving image sequence visualization and browsing based o... more ABSTRACT This paper presents methods for moving image sequence visualization and browsing based on algorithms from computer vision, information visualization and on a hierarchical model for content semantics. We introduce a new method, OM-Images, for the visualization of temporal changes in a moving image sequence. Together with interactive browsing techniques the visualization methods can be used for the exploration of a movie at different levels of abstraction. The proposed levels of abstraction are the physical, image, object or discourse level. The visualization is used to generate (1) static descriptions, which printed on paper yield a “movie book” and (2) interactive documents, e.g. Web pages or special movie browsers. Finally, we give examples of a movie book of a feature length film
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