Abstract
In order to analyze and detect neural activations and inhibitions in film spectators to shot changes by cut in films, we developed a methodology based on comparisons of recorded EEG signals and analyzed the event-related desynchronization/synchronization (ERD/ERS). The aim of the research is isolating these neuronal responses from other visual and auditory features that covary with film editing. This system of comparing pairs of signals using permutation tests, the Spearman correlation, and slope analysis is implemented in an automated way through sliding windows, analyzing all the registered electrodes signals at all the frequency bands defined. Through this methodology, we are able to locate, identify, and quantify the variations in neuronal rhythms in specific cortical areas and frequency ranges with temporal precision. Our results detected that after a cut there is a synchronization in theta rhythms during the first 188 ms with left lateralization, and also a desynchronization between 250 ms and 750 ms in the delta frequency band. The cortical area where most of these neuronal responses are detected in both cases is the parietal area.
Highlights
Neurocinematics represents a new way to approach cinematographic theory [1], leading to a paradigm shift in the methodology of cinematographic studies
In order to detect the time windows and brain areas where we can find neuronal activity associated with the shot change in the first second after the cut, we analyzed the distribution of those responses located as correlated and dependent throughout the set of the six pairs of comparisons between the four ASFs in each electrode and frequency band over the time sample
In the time window centred at -125 ms there is only one positive data point, while in the window centred at -188 ms all the results indicate that there is no relationship between the cut and the neuronal response
Summary
Neurocinematics represents a new way to approach cinematographic theory [1], leading to a paradigm shift in the methodology of cinematographic studies. Based on ecological cognitive film theory [2], neurocinematics shifts the central focus from the film itself towards the cognitive system of the spectator watching the film, evaluating the spectator’s neuronal responses to the different stimuli present in the film. In this theoretical line, researchers like Zacks [3] propose that the perceptual system does not differentiate between real and filmic stimuli, as both are processed in the same way. From the neurocinematic point of view, the shot change by cut has been studied by means of various biometric measurements, introducing new approaches to cinematographic theory. Based on eye-blinking, eye movements, and the cognitive limitations of change blindness [5]
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