Yilmaz Mehmet Burak, Lotman Elen, Karjus Andres, Tikka Pia
Baltic Film, Media, Arts and Communication School, Tallinn University, Tallinn, Estonia.
School of Humanities, Tallinn University, Tallinn, Estonia.
Front Neurosci. 2023 Jul 3;17:1160843. doi: 10.3389/fnins.2023.1160843. eCollection 2023.
We investigate the relationship between camera movement techniques and cognitive responses in audiences, reporting on an experiment exploring the effects of different camera movement methods on viewers' degree of immersion and emotional response. This follows directly from preceding experimental literature and is further motivated by accounts and experiences of practicing cinematographers (authors included), which indicates a correspondence between the two. We designed three different cinematic scenes with indifferent moods, and shot each one time with Steadicam, dolly, handheld, and static camera, resulting in 12 different clips. A total of 44 non-professional participants watched the clips and rated their reactions in terms of arousal and degree of involvement. Experimental results are mixed: movement affects the sense of involvement but not necessarily emotional response. We present and discuss some further explorative results and possible future directions to improve the design. We argue in this contribution that there is value in experimental approaches to cinematography, enabling the systematic study of creative intuitions and audience responses in controlled settings.
我们研究了镜头运动技术与观众认知反应之间的关系，报告了一项探索不同镜头运动方法对观众沉浸程度和情感反应影响的实验。这直接源于之前的实验文献，并且受到从业电影摄影师（包括作者在内）的描述和经验的进一步推动，这些表明两者之间存在对应关系。我们设计了三个具有不同情绪的电影场景，并用斯坦尼康、轨道车、手持和固定镜头分别拍摄一次，从而得到12个不同的片段。共有44名非专业参与者观看了这些片段，并对他们在兴奋程度和参与度方面的反应进行评分。实验结果喜忧参半：运动影响参与感，但不一定影响情感反应。我们展示并讨论了一些进一步的探索性结果以及改进设计的可能未来方向。我们在本论文中认为，电影摄影的实验方法具有价值，能够在可控环境中对创作直觉和观众反应进行系统研究。
