Film theorists and practitioners suggest that motion can be manipulated in movie scenes to elicit emotional responses in viewers. However, our understanding of the role of motion in emotion perception remains limited. On the one hand, movies continuously depict local motion- movements of objects and humans, which are crucial for generating emotional responses. Movie scenes also frequently portray global motion, mainly induced by large camera movements, global motion being yet another source of information used by the brain during natural vision. Here we used functional MRI to elucidate the contributions of local and global motion to emotion perception during movie viewing. Subjects observed long (1 min) movie segments depicting emotional or neutral content. Brain activity in areas that showed preferential responses to emotional content was strongly linked over time with frame-wide variations in global motion, and to a lesser extent with local motion information. Similarly, stronger responses to emotional content were recorded within regions of interest whose activity was attuned to global and local motion over time. Since global motion fields are experienced during self-motion, we suggest that camera movements may induce illusory self-motion cues in viewers that interact with the movie's narrative and with other emotional cues in generating affective responses.

译文

电影理论家和从业者建议,可以在电影场景中操纵运动,以引起观众的情感反应。但是,我们对运动在情绪感知中的作用的理解仍然有限。一方面,电影不断描绘物体和人类的局部运动,这对于产生情感反应至关重要。电影场景还经常刻画全局运动,这主要是由大型相机运动引起的,全局运动是自然视觉期间大脑使用的另一种信息来源。在这里,我们使用功能性MRI来阐明电影观看过程中局部和全局运动对情绪感知的贡献。受试者观察到长(1分钟)的电影片段,描绘出情感或中立的内容。随着时间的流逝,对情感内容表现出优先响应的区域的大脑活动与全帧运动的全帧变化密切相关,而与局部运动信息的影响程度较小。类似地,在感兴趣的区域内记录了对情感内容的更强响应,这些区域的活动随着时间的推移逐渐适应了全局和局部运动。由于在自运动过程中会经历全局运动场,因此我们建议相机运动可能会在观众中产生虚幻的自运动线索,这些观众与电影的叙事以及其他情感线索相互作用,从而产生情感反应。

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