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  1. The ‘Good Form’ of Film: The Aesthetics of Continuity from Gestalt Psychology to Cognitive Film Theory.Maria Poulaki - 2018 - Gestalt Theory 40 (1):29-43.
    Summary This article questions certain assumptions concerning film form made by the recent psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of Gestalt psychology such as those of ‘good form’ and good continuation are still underlying the psychological research of film, becoming particularly apparent in its approach to continuity editing. Following an alternative Gestalt genealogy that links (...)
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  • Complex Motor Learning and Police Training: Applied, Cognitive, and Clinical Perspectives.Paula M. Di Nota & Juha-Matti Huhta - 2019 - Frontiers in Psychology 10.
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  • Event segmentation ability uniquely predicts event memory.Jesse Q. Sargent, Jeffrey M. Zacks, David Z. Hambrick, Rose T. Zacks, Christopher A. Kurby, Heather R. Bailey, Michelle L. Eisenberg & Taylor M. Beck - 2013 - Cognition 129 (2):241-255.
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  • Episodes, events, and models.Sangeet S. Khemlani, Anthony M. Harrison & J. Gregory Trafton - 2015 - Frontiers in Human Neuroscience 9:159116.
    We describe a novel computational theory of how individuals segment perceptual information into representations of events. The theory is inspired by recent findings in the cognitive science and cognitive neuroscience of event segmentation. In line with recent theories, it holds that online event segmentation is automatic, and that event segmentation yields mental simulations of events. But it posits two novel principles as well: first, discrete episodic markers track perceptual and conceptual changes, and can be retrieved to construct event models. Second, (...)
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  • Ritualized Objects: How We Perceive and Respond to Causally Opaque and Goal Demoted Action.Rohan Kapitány & Mark Nielsen - 2019 - Journal of Cognition and Culture 19 (1-2):170-194.
    Rituals are able to transform ordinary objects into extraordinary objects. And while rituals typically do not cause physical changes, they may imbue objects with a particular specialness – a simple gold band may become a wedding ring, while an ordinary dessert may become a birthday cake. To treat such objects as if they were ordinary then becomes inappropriate. How does this transformation take place in the minds of observers, and how do we recognize it when we see it? Here, we (...)
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  • Visual Narrative Structure.Neil Cohn - 2013 - Cognitive Science 37 (3):413-452.
    Narratives are an integral part of human expression. In the graphic form, they range from cave paintings to Egyptian hieroglyphics, from the Bayeux Tapestry to modern day comic books (Kunzle, 1973; McCloud, 1993). Yet not much research has addressed the structure and comprehension of narrative images, for example, how do people create meaning out of sequential images? This piece helps fill the gap by presenting a theory of Narrative Grammar. We describe the basic narrative categories and their relationship to a (...)
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  • A Mixed-Methods Approach Using Self-Report, Observational Time Series Data, and Content Analysis for Process Analysis of a Media Reception Phenomenon.Michael Brill & Frank Schwab - 2019 - Frontiers in Psychology 10.
    Due to the complexity of research objects, theoretical concepts, and stimuli in media research, researchers in psychology and communications presumably need sophisticated measures beyond self-report scales to answer research questions on media use processes. The present study evaluates stimulus-dependent structure in spontaneous eye-blink behavior as an objective, corroborative measure for the media use phenomenon of spatial presence. To this end, a mixed methods approach is used in an experimental setting to collect, combine, analyze, and interpret data from standardized participant self-report, (...)
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