The Coherence of Visual Narratives
Abstract
Memory for visual narratives was examined as a function of cinematic structure. Four visual narratives were constructed, with each narrative taking place within a single location and presenting an interaction between two main characters. Two separate experiments examined the influence of establishing shots and directional continuity on subjects' memory for the depicted events. In a 2 × 2 design, the narratives began with or without an establishing shot and preserved or violated directional continuity. Experiment 1 showed that subjects can accurately recognize the flow of action in visual narratives, even without establishing shots, as long as directional continuity is preserved, but that establishing shots allow the viewer to construct a comprehensive representation of spatial layout. Experiment 2 introduced a reconstruction task to assess memory for the narratives, showing not only that directional continuity provided a framework for establishing spatial coherence but that this spatial framework enhanced subjects' ability to remember the depicted activities in the appropriate sequence. In general, these experiments identified two important psychological principles for restructuring real-world activities into coherent filmed sequences.
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The tensions within film theory can be surmounted by avoiding an essentializing conception of the cinema and by employing a correspondence-based model of cinematic representation.
“The tensions within film theory can be surmounted by avoiding an essentializing conception of the cinema stressing unique, fundamental properties23 and by employing, in place of indexically based notions of film realism, a correspondence-based model of cinematic representation.”
From True Lies: Perceptual Realism, Digital Images, and Film Theory (1996) · cites this paper as [23]
Cites
Perceiving the Language of Films
Frith, U., & Robson, J. E. (1975) · Perception · doi:10.1068/p040097 · Cited by 56 · see citing works
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True Lies: Perceptual Realism, Digital Images, and Film Theory
Prince, S. (1996) · Film Quarterly · doi:10.2307/1213468 · Cited by 237 · see citing works
Cohn, N. (2014) · Frontiers in Psychology · doi:10.3389/fpsyg.2014.00680 · Cited by 77 · see citing works
- Authors
- KRAFT, R. N., CANTOR, P., & GOTTDIENER, C.
- Venue
- Communication Research
- Publisher
- SAGE Publications
- Published
- 1991-10
- Volume
- 18
- Issue
- 5
- Pages
- 601-616
- ISSN
- 0093-6502 (ISSN-L)
- 1552-3810
- OpenAlex
- W2104091773
- Cited by
- 44
- References
- 1
- Citations by year
- 2025: 1 · 2024: 2 · 2021: 20 · 2019: 2 · 2017: 2 · 2014: 3 · 2013: 1 · 2012: 2
- FWCI
- 0.00
- Type
- journal article
- Language
- en
- Open access
- closed
- Locations
- Communication Research (publishedVersion)
- Topics
- Social Sciences › Arts and Humanities › Literature and Literary Theory › Narrative Theory and Analysis
- Life Sciences › Neuroscience › Cognitive Neuroscience › Memory Processes and Influences
- Social Sciences › Psychology › Experimental and Cognitive Psychology › Visual and Cognitive Learning Processes
- Keywords
- visual narrative, spatial coherence, film structure, narrative sequence, spatial configuration, film editing
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