The DOI matches its Crossref record; the references it cites are not checked yet.
An embodiment of the cinematographer: emotional and perceptual responses to different camera movement techniques
Open accessAbstract
We investigate the relationship between camera movement techniques and cognitive responses in audiences, reporting on an experiment exploring the effects of different camera movement methods on viewers' degree of immersion and emotional response. This follows directly from preceding experimental literature and is further motivated by accounts and experiences of practicing cinematographers (authors included), which indicates a correspondence between the two. We designed three different cinematic scenes with indifferent moods, and shot each one time with Steadicam, dolly, handheld, and static camera, resulting in 12 different clips. A total of 44 non-professional participants watched the clips and rated their reactions in terms of arousal and degree of involvement. Experimental results are mixed: movement affects the sense of involvement but not necessarily emotional response. We present and discuss some further explorative results and possible future directions to improve the design. We argue in this contribution that there is value in experimental approaches to cinematography, enabling the systematic study of creative intuitions and audience responses in controlled settings.
Overview
The claims and statistics of this paper haven’t been checked yet.
Run the check — free, no account needed. It reads the open-access text and checks the sources it cites.
Integrity signals
Registry
Cites
Statistics
Verification
Claims the paper makes
The claims and statistics of this paper haven’t been checked yet.
Run the check — free, no account needed. It reads the open-access text and checks the sources it cites.
Self-check
Percentages, sums and reported differences re-computed from the paper’s own numbers.
The self-check needs the paper’s full text.
Citations
The citation lists haven’t been fetched yet
References 55 · Cited by 23
Research works printed but not linked: 67
- Alefantis, 2022, Sensory evidence accumulation using optic flow in a naturalistic navigation task, J. Neurosci., 42, 5451, 10.1523/JNEUROSCI.2203-21.2022 · DOI
- Anderson, 2005, Moving Image theory: Ecological Considerations
- Anderson, 1998, The Reality of Illusion: An Ecological Approach to Cognitive Film Theory
- Barker, 2009, The Tactile Eye: Touch and the Cinematic Experience, 10.1525/9780520943902 · DOI
- Bates, 2015, Fitting linear mixed-effects models using lme4, J. Stat. Softw., 67, 1, 10.18637/jss.v067.i01 · DOI · Paper page
- Bolens, 2012, Kinesthetic empathy in charlie chaplin's silent films, Kinesthetic Empathy in Creative and Cultural Practices, 145
- Bordwell, 1977, Camera movement and cinematic space, Cine-Tracts, 1, 19
- Bradley, 1994, Measuring emotion: the self-assessment manikin and the semantic differential, J. Behav. Ther. Exp. Psychiatry, 25, 49, 10.1016/0005-7916(94)90063-9 · DOI · Paper page
- Calhoun, 2003, Putting the “Move” in Movie, Am. Cinematogr., 84, 72
- Churchill, 1983, Steadicam: an operator's perspective-part I, Am. Cinematogr, 64, 36
- Coëgnarts, 2017, Cinema and the embodied mind: metaphor and simulation in understanding meaning in films, Palgrave Commun., 3, 17067, 10.1057/palcomms.2017.67 · DOI
- Coëgnarts, 2022, Embodying meaning visually: from perceptual dynamics to motion kinematics, Art Percept., 10, 137, 10.1163/22134913-bja10035 · DOI
- Comer, 1993, Steadicam hits its stride, Am. Cinematogr., 74, 73
- Cutting, 2005, “Perceiving scenes in film and in the world, Moving Image Theory: Ecological Considerations, 9
- Deleuze, 1986, Cinema 1: The Movement-Image
- Detenber, 1996, A bio-informational theory of emotion: motion and image size effects on viewers, J. Commun., 46, 66, 10.1111/j.1460-2466.1996.tb01489.x · DOI
- Detenber, 1998, Roll ‘em!: the effects of picture motion on emotional responses, J. Broadcast. Electron. Media, 42, 113, 10.1080/08838159809364437 · DOI
- Ferrara, 2001, Steadicam: Techniques and Aesthetics
- Gallese, 2007, Before and below ‘theory of mind': embodied simulation and the neural correlates of social cognition, Philos. Trans. R. Soc. B Biol. Sci., 362, 659, 10.1098/rstb.2006.2002 · DOI · Paper page
- Gallese, 2014, The feeling of motion: camera movements and motor cognition, Ciné. Cie, 103, 10.1093/oso/9780198793533.003.0003 · DOI
- Gallese, 2012, Embodying movies: embodied simulation and film studies, Cine. J. Philos. Mov. Image, 3, 183
- Gibson, 1966, The Senses Considered as Perceptual Systems
- Grodal, 2002, Moving Pictures: A New Theory of Film Genres, Feelings, and Cognition
- Guerra, 2015, Modes of action at the movies, or re-thinking film style from the embodied perspective, Embodied Cognition and Cinema.
- Hall, 1932, Cinematographers and directors meet discuss camera trucking problems, Am. Cinematogr. XIII
- Heimann, 2019, Embodying the camera: an EEG study on the effect of camera movements on film spectators' sensorimotor cortex activation, PLoS ONE, 14, e0211026, 10.1371/journal.pone.0211026 · DOI
- Heimann, 2014, Moving mirrors: a high-density eeg study investigating the effect of camera movements on motor cortex activation during action observation, J. Cogn. Neurosci., 26, 2087, 10.1162/jocn_a_00602 · DOI
- Henderson, 1970, Toward a non-bourgeois camera style, Film Q., 24, 2, 10.2307/1211215 · DOI
- Jääskeläinen, 2020, Neural processing of narratives: from individual processing to viral propagation, Front. Hum. Neurosci., 14, 253, 10.3389/fnhum.2020.00253 · DOI
- Jääskeläinen, 2021, Movies and narratives as naturalistic stimuli in neuroimaging, NeuroImage, 224, 117445, 10.1016/j.neuroimage.2020.117445 · DOI
- Kauttonen, 2018, Brain mechanisms underlying cue-based memorizing during free viewing of movie Memento, NeuroImage, 172, 313, 10.1016/j.neuroimage.2018.01.068 · DOI
- Kauttonen, 2014, Model of Narrative Nowness for Neurocinematic Experiments
- Keating, 2019, The Dynamic Frame: Camera Movement in Classical Hollywood
- Kovács, 2019, A robust neural fingerprint of cinematic shot-scale, Projections, 13, 23, 10.3167/proj.2019.130303 · DOI
- Kuznetsova, 2017, lmerTest package: tests in linear mixed effects models, J. Stat. Softw., 10.18637/jss.v082.i13 · DOI · Paper page
- Lakoff, 1999, Philosophy in the Flesh: The Embodied Mind and its Challenge to Western Thought
- Lotman, 2016, Exploring the ways cinematography affects viewers' perceived empathy towards onscreen characters, Balt. Screen Media Rev., 4, 88, 10.1515/bsmr-2017-0005 · DOI
- Lotman, 2021, Experiential heuristics in fiction film cinematography (dissertation/doctoral thesis)
- MacDougall, 2006, The Corporeal Image: Film, Ethnography, and the Senses
- Metz, 1991, Film Language: A Semiotics of the Cinema
- Morgan, 2016, Where are we?: camera movements and the problem of point of view, New Rev. Film Telev. Stud., 14, 222, 10.1080/17400309.2015.1125702 · DOI
- Mühlberger, 2008, The impact of changes in spatial distance on emotional responses, Emotion, 8, 192, 10.1037/1528-3542.8.2.192 · DOI
- Müller, 2014, Embodied cognition and camera mobility in F. W. Murnau's the last laugh and Fritz Lang's M, Paragraph, 37, 32, 10.3366/para.2014.0108 · DOI
- Neisser, 1980, On “Social Knowing.”, Pers. Soc. Psychol. Bull., 6, 601, 10.1177/014616728064012 · DOI
- Nielsen, 2007, Camera movement in narrative cinema — Towards a taxonomy of functions (dissertation/doctoral thesis)
- Nonaka, 1994, A dynamic theory of organizational knowledge creation, Organ. Sci., 5, 14, 10.1287/orsc.5.1.14 · DOI · Paper page
- O'Leary, 2003, Camera movements in hollywood's westering genre: a functional semiotic approach, Criticism, 45, 197, 10.1353/crt.2004.0002 · DOI
- Pavlus, 2003, Robert Richardson, ASC on camera movement, Am. Cinematogr.
- Raz, 2014, Forking cinematic paths to the self: neurocinematically informed model of empathy in motion pictures, Projections, 8, 89, 10.3167/proj.2014.080206 · DOI
- Salt, 2009, Film Style and Technology: History and Analysis
- Schonig, 2017, Seeing aspects of the moving camera: on the twofoldness of the mobile frame, Synoptique, 5, 57
- Simons, 2000, Image motion and context: a between- and within-subjects comparison, Psychophysiology, 37, 706, 10.1111/1469-8986.3750706 · DOI
- Simons, 1999, Emotion processing in three systems: the medium and the message, Psychophysiology, 36, 619, 10.1111/1469-8986.3650619 · DOI
- Smith, 2012, The attentional theory of cinematic continuity, Projections, 6, 1, 10.3167/proj.2012.060102 · DOI
- Sobchack, 1982, Toward inhabited space: the semiotic structure of camera movement in the cinema, Semiotica, 10.1515/semi.1982.41.1-4.317 · DOI
- Sobchack, 1992, The Address of the Eye: A Phenomenology of Film Experience, 10.1515/9780691213279 · DOI
- Sobchack, 2016, ‘The Active Eye' (Revisited): toward a phenomenology of cinematic movement, Studia Phaenomenologica, Volume 16/2016: Film and Phenomenology, 10.5840/studphaen2016162 · DOI
- Tan, 2018, A psychology of the film, Palgrave Commun., 4, 82, 10.1057/s41599-018-0111-y · DOI
- Tikka, 2008, Enactive Cinema: Simultatorium Eisensteinense
- Tikka, 2022, Enactive authorship: second-order simulation of the viewer experience—a neurocinematic approach, Projections, 16, 47, 10.3167/proj.2022.160104 · DOI
- Tikka, 2014, From naturalistic neuroscience to modeling radical embodiment with narrative enactive systems, Front. Hum. Neurosci., 8, 794, 10.3389/fnhum.2014.00794 · DOI
- Tikka, 2018, Narrative comprehension beyond language: Common brain networks activated by a movie and its script, PLoS ONE, 10.1371/journal.pone.0200134 · DOI
- Tivadar, 2021, Automatic sensory predictions: a review of predictive mechanisms in the brain and their link to conscious processing, Front. Hum. Neurosci., 15, 702520, 10.3389/fnhum.2021.702520 · DOI
- Varela, 1991, The Embodied Mind: Cognitive Science and Human Experience, 10.7551/mitpress/6730.001.0001 · DOI · Paper page
- Vesey, 1965, The Embodied Mind
- Visch, 2009, Categorizing moving objects into film genres: the effect of animacy attribution, emotional response, and the deviation from non-fiction, Cognition, 110, 265, 10.1016/j.cognition.2008.10.018 · DOI
- Zacks, 2010, The brain's cutting-room floor: segmentation of narrative cinema, Front. Hum. Neurosci., 4, 168, 10.3389/fnhum.2010.00168 · DOI
Metadata
- Authors
- Yilmaz, M. B., Lotman, E., Karjus, A., & Tikka, P.
- Affiliations
- Tallinn University (EE)
- Corresponding author
- Yilmaz, Mehmet Burak
- Venue
- Frontiers in Neuroscience
- Publisher
- Frontiers Media SA
- Published
- 2023-07-03
- Volume
- 17
- Pages
- 1160843-1160843
- ISSN
- 1662-453X (ISSN-L)
- PMC
- PMC10352452
- OpenAlex
- W4382940668
- Cited by
- 23
- References
- 55
- Citations by year
- 2026: 6 · 2025: 10 · 2024: 5 · 2023: 2
- FWCI
- 3.44
- Type
- journal article
- Language
- en
- Open access
- gold
- doi.org
- Licence
- Locations
- Frontiers in Neuroscience (publishedVersion, cc-by)
- PubMed Central (publishedVersion, cc-by)
- PubMed (publishedVersion)
- DOAJ (DOAJ: Directory of Open Access Journals) (submittedVersion, cc-by-sa)
- Funders
- European Commission (810961, HORIZON2020, 101035820, MOBTT90)
- Eesti Teadusagentuur (MOBTT90)
- Universiteit Antwerpen
- Tartu Ülikool
- Topics
- Life Sciences › Neuroscience › Cognitive Neuroscience › Aesthetic Perception and Analysis
- Social Sciences › Arts and Humanities › Visual Arts and Performing Arts › Cinema History and Criticism
- Physical Sciences › Computer Science › Computer Graphics and Computer-Aided Design › Digital Media and Visual Art
- Keywords
- camera movement, cinematography, Steadicam, Dolly, handheld camera, static camera, viewer immersion, emotional responses, arousal, audience involvement, embodied cognition
About these checks
Registry, retraction, Cites and statistics results are computed, not judged, with one exception: a printed reference that no index lists is read once by a model before it counts as a citation error. Claims are extracted by a model and kept only when their quote appears verbatim in the text; each cited source is then checked, with a model’s help, for whether it says what the claim relies on. Those verdicts can be wrong — read the claim’s quote and the cited source before relying on one.
Statistics and arithmetic are recomputed, not judged.
Confidence bands are shown only for fields calibrated on our annotated test set. None is calibrated yet, so no band is shown.
What counts as a claim ›How we measure confidence ›How we check this ›
Are you an author, or do you see a problem with this page? Request a review