Kaitlin L. Brunick

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We selected 24 Hollywood movies released from 1940 through 2010 to serve as a film corpus. Eight viewers, three per film, parsed them into events, which are best termed subscenes. While watching a film a second time, viewers scrolled through frames and recorded the frame number where each event began. Viewers agreed about 90% of the time. We then analyzed(More)
We measured 160 English-language films released from 1935 to 2010 and found four changes. First, shot lengths have gotten shorter, a trend also reported by others. Second, contemporary films have more motion and movement than earlier films. Third, in contemporary films shorter shots also have proportionately more motion than longer shots, whereas there is(More)
Three experiments assessed the influence of the Ebbinghaus illusion on size judgments that preceded verbal, grasp, or touch responses. Prior studies have found reduced effects of the illusion for the grip-scaling component of grasping, and these findings are commonly interpreted as evidence that different visual systems are employed for perceptual judgment(More)
The structure of Hollywood film has changed in many ways over the last 75 years, and much of that change has served to increase the engagement of viewers’ perceptual and cognitive processes. We report a new physical measure for cinema—the visual activity index (VAI)—that reflects one of these changes. This index captures the amount of motion and movement in(More)
Children’s future parasocial relationships with media characters: the age of intelligent characters Kaitlin L. Brunick, Marisa M. Putnam, Lauren E. McGarry, Melissa N. Richards & Sandra L. Calvert To cite this article: Kaitlin L. Brunick, Marisa M. Putnam, Lauren E. McGarry, Melissa N. Richards & Sandra L. Calvert (2016) Children’s future parasocial(More)
Animated films present a unique set of challenges and questions to scholars examining films from a cognitive perspective. When the confines of the real world don’t exist as they do in live action films, the filmmaker is confronted with creating the entire narrative space from scratch (Buchan, 2011; Buchan, 2006). How do animators manage this seemingly(More)
Over time, filmmakers have changed the way they realize the structure of their films. Film structures have progressively developed to cater to patterns present in human attentional systems. Shot structure over time has exhibited a closer adherence to a 1/f pattern, a naturally occurring distribution that displays self-similarity over multiple scales. Visual(More)
Cinematic tradition suggests that Hollywood films, like plays, are divided into acts. Thompson (1999) streamlined the conception of this largescale film structure by suggesting that most films are composed of four acts of generally equal length—the setup, the complicating action, the development, and the climax (often including an epilog). These acts are(More)
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