The attentional theory of cinematic continuity
The attentional theory of cinematic continuity
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电影连续性的注意力理论
DOI：
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发表时间：
2012
期刊：
影响因子：
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通讯作者：
T. Smith
中科院分区：
文献类型：
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作者：
T. Smith
大多数电影剪辑的目的是通过将不连续的观点剪辑在一起来创造连续的印象。连续性编辑规则已经确立，但对其认知基础还存在不完全的理解。本文介绍了电影连续性的注意理论(AToCC)，它确定了视觉注意在跨画面连续性感知中所起的关键作用，并演示了如何在不需要对所描绘的空间进行连贯的呈现的情况下，跨画面匹配感知期望。该理论解释了连续编辑风格的几个关键元素，包括匹配动作、匹配快速/入场、投篮/反向投篮、180°规则和视点编辑。AToCC将近一个世纪以来潜伏在电影制作界的关于观众认知的见解正式化，并展示了视觉科学总体上可以从电影中学到多少东西。
The intention of most film editing is to create the impression of continuity by editing together discontinuous viewpoints. The continuity editing rules are well established yet there exists an incomplete understanding of their cognitive foundations. This article presents the Attentional Theory of Cinematic Continuity (AToCC), which identifies the critical role visual attention plays in the perception of continuity across cuts and demonstrates how perceptual expectations can be matched across cuts without the need for a coherent representation of the depicted space. The theory explains several key elements of the continuity editing style including match-action, matchedexit/entrances, shot/reverse-shot, the 180° rule, and point-of-view editing. AToCC formalizes insights about viewer cognition that have been latent in the filmmaking community for nearly a century and demonstrates how much vision science in general can learn from film.