基礎心理学研究
Online ISSN : 2188-7977
Print ISSN : 0287-7651
ISSN-L : 0287-7651
動画像配列に基づく映像表現のリアリティ(視覚表現と心理的リアリティ,2005年度第1回フォーラム)
鈴木 清重
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ジャーナル フリー

2006 年 24 巻 2 号 p. 201-210

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We examined how we could describe the psychological reality of film. We defined "reality" from three different viewpoints: that of a film director, that of a film audience, and that of a researcher on image arts. Film audiences seem to use the term "reality" with the same meaning as the word "beauty". The audience doesn't necessarily compare the film experience to their experiences in the real world when they use the term. For film directors, reality is an artifact created in the minds of the audience. Most natural appearing events in a film are not recorded in the film studio in the way they are seen in the film. Film directors portray various events in a film in such a way that the audience perceives them as simply natural. Suzuki and Osada (2005 Perception, 34, (Suppl.), 139) studied the perceptual organization of serially presented motion-picture shots. Observers of motion-picture shots can perceive continuity or discontinuity in a series of shots when they watch films. A series of shots in which observers can perceive continuity will be perceptually organized as one single continuous event. On the other hand, series of shots in which observers perceive discontinuity are perceptually organized as several segregated events. We thought that the psychological reality of film is based on how events are perceived in a series of motion-picture shots. Audiences can perceive even impossible events as natural when shots of discontinuous movement are appropriately organized. Perceived event in film is often qualitatively changed by the way of observing when shots are discontinuous. We advocated the concept of perceptual organization of events in the construction of film reality. Our conclusion is that the psychological reality of film is a reality based on the perceptual organization that a series of shots induces, in other words it is an outcome of the interaction between expression and observation caused by editing the seriality motion-picture shots.

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© 2006 日本基礎心理学会
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