The aim of this paper is to present the structure and classification of past sequences, e.g., flashbacks, with reference to actual scenes from movies and televised movies, with a new technique for transcription. An analysis of the techniques used in the scenes revealed the following points: (1) close-ups and voice-overs are used to indicate “who remembers,” (2) reshowing the prior scenes or references to the past are used to indicate “when the event occurred,” and (3) changing the color or brightness of the screen is used to indicate “breaks” between the present and the past. The analysis reveals that many techniques, or cognitive artifacts, are employed to depict past sequences, which often result in redundancy. The notion of cognitive artifacts is discussed further, particularly with respect to their systematic aspects.

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The Kuleshov effect is well-known. However, there is no plausible account of the existence of this effect and only a few attempts have been made to study it in terms of psychology.

The purpose of this paper is to examine the Kuleshov effect from a psychological point of view. The effect of serial presentation of two shots on the perception of motion picture segments was investigated. Sixty observers, thirty males and thirty females, ranging in age from 18 to 29 years of age, took part in the experiment. Stimuli consisted of six different shots, three of which were shots of human faces (2000 ms) and three were object shots (7834 ms). These shots were cut from six movie works. These two kinds of shots were presented in the order of object-human face. Observers were asked to rate these motion picture segments on 30 seven-point semantic scales and to answer a question about the story of the motion picture segments.

The results imply that the Kuleshov effect exists on the segments, but no proof was found that it is a phenomenon of perception. It is necessary to investigate the effect under more conditions. In future studies we hope to unveil the factors that provide this effect.

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本研究の最終的な目的は、大学生の映像構成能力を育成するための教材を開発することであるが、本稿では、その基礎研究として行った実験から大学生の映像構城の特徴を報告する。実験は、1)直列、2)並列、3)回想、4)比喩の4種類のモンタージュで構成された4つのストーリーを提示し、それを表現するように絵カードを並べ替える課題であった。本実験の被験者は、大学生23名と映像ディレクター2名であった。被験者の配列を分析した結果、映像ディレクターの構成には個性的な映像文体がみられ、大学生の構成には意味を成さない配列や、エスタブリッシングショットに起因する誤りが多いこと等が明らかになった。また、本課題は映像構成の教材としても実用性があることを確かめた。

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