Valentijn Visch

The emotional and cognitive effect of immersion in film viewing

This brief report presents an experiment testing the effect of immersion on emotional responses and cognitive genre categorisation of film viewers. Immersion of a film presentation was varied by presenting an animated movie either in a 3D-viewing condition (low immersive condition) or in a CAVE condition (high immersive condition, comparable to virtual reality experience). Viewers rated their emotions and categorised the movies into four basic film genres (action, drama, comedy, and non-fiction). Two distinct types of emotion were measured: Fictional World emotions (e.g., sadness) in response to the presented fictional events and Artefact emotions in response to the film as an artefact (e.g., fascination). Results showed that stronger immersion led to more intense emotions but did not influence genre categorisation. In line with expectations, both types of emotional response were intensified by high immersion. The results are explained by suggesting that highly immersive cinema has its impact on a basic dimension of emotion, namely arousal that underlies both types of emotions.

Categorizing moving objects into film genres: The effect of animacy attribution, emotional response, and the deviation from non-fiction

The reported study follows the footsteps of Heider, and Simmel (1944) [Heider, F., & Simmel, M. (1944). An experimental study of apparent behavior. American Journal of Psychology, 57, 243-249] and Michotte (1946/1963) [Michotte, A. (1963). The perception of causality (T.R. Miles & E. Miles, Trans.). London: Methuen (Original work published 1946)] who demonstrated the role of object movement in attributions of life-likeness to figures. It goes one step further in studying the categorization of film scenes as to genre as a function of object movements. In an animated film scene portraying a chase, movements of the chasing object were systematically varied as to parameters: velocity, efficiency, fluency, detail, and deformation. The object movements were categorized by viewers into genres: non-fiction, comedy, drama, and action. Besides this categorization, viewers rated their animacy attribution and emotional response. Results showed that non-expert viewers were consistent in categorizing the genres according to object movement parameters. The size of its deviation from the unmanipulated movement scene determined the assignment of any target scene to one of the fiction genres: small and moderate deviations resulted in categorization as drama and action, and large deviations as comedy. The results suggest that genre classification is achieved by, at least, three distinct cognitive processes: (a) animacy attribution, which influences the fiction versus non-fiction classification; (b) emotional responses, which influences the classification of a specific fiction genre; and (c) the amount of deviation from reality, at least with regard to movements.

Emotion attribution to basic parametric static and dynamic stimuli

The following research investigates the effect of basic visual stimuli on the attribution of basic emotions by the viewer. In an empirical study (N = 33) we used two groups of visually minimal expressive stimuli: dynamic and static. The dynamic stimuli consisted of an animated circle moving according to a structured set of movement parameters, derived from emotion expression literature. The parameters are direction, expansion, velocity variation, fluency, and corner bending. The static stimuli consisted of the minimal visual form of a smiley. The varied parameters were mouth openness, mouth curvature, and eye rotation. The findings describing the effect of the parameters on attributed emotions are presented. This paper shows how specific viewer affect attribution can be included in men machine interaction using minimal visual material.

Moved by Movements: How Character Movements Cue Us to Form Specific Genre and Affective Impressions

When we see a feature film scene, it is usually not very hard to tell to which genre the film might belong. Our research focuses on the role of bodily movements of actors in the genre recognition process. We aim to identify by means of empirical experiments using 3-D animated scenes, which parameters of bodily movements – and which configurations of these – are responsible for what generic and affective viewer impression. The following set of parameters is varied in an animated and abstracted ”running chase” scene: velocity, efficiency, fluency, detail and body proportion. As the experiment is running at this moment of writing, the results shall be presented during the conference.