The majority of British sitcoms and dramas from the 1950s to the early 1990s were made using a multi-camera format.[24] Unlike the United States, the development of completed filmed programming, using the single camera method, was limited for several decades.[citation needed] Instead, a "hybrid" form emerged using (single camera) filmed inserts, generally location work, which were mixed with interior scenes shot in the multi-camera electronic studio. It was the most common type of domestic production screened by the BBC and ITV. However, as technology developed, some drama productions were mounted on location using multiple electronic cameras. Many all-action 1970s programs, such as The Sweeney and The Professionals were shot using the single camera method on 16mm film. Meanwhile, by the early 1980s, the most highly budgeted and prestigious television productions, like Brideshead Revisited (1981), had begun to use film exclusively.
PATCHED My Very First Scene 3 [Vision Films]**Split Scenes**
Each scene often has it's own beginning/middle/end. Thesemini-scenes, patched together, create your story.Traditionally, Act Two is where the protagonist attempts to resolve theproblem(s) and comes against numerous obstacles - often facing an everworsening situation. This is where the tension builds and the audiencewonders how the protagonist is ever going to resolve the issues/challengesbefore them.
Similarly, the highly produced nature of film contains several features that exert strong bottom-up control and increase attentional synchrony (Dorr et al., 2010; Smith, 2013). Importantly, these features are used based on the practical film theory that they guide viewer attention (Eisenstein, 1948; Murch, 2001; Spielberg, 2013). The bottom-up features include motion (Mital et al., 2010), editing (Wang, Freeman, Merriam, Hasson, & Heeger, 2012), and lighting (Cutting, Brunick, DeLong, Iricinschi, & Candan, 2011; Murch, 2001). Additionally, filmmakers often compose highly produced dynamic scenes to include few points of interest, or construct them such that the bottom-up features guide attention to a single point of interest (Cutting, 2015). Compared to highly produced film, the visual features of both static text and static scenes have relatively weak bottom-up features. Potentially due to the weak bottom-up visual features, many studies have shown strong top-down effects on eye movements in text reading (Hyönä & Lorch, 2004; Rayner et al., 1995; Wiley & Rayner, 2000) and static scene viewing (DeAngelus & Pelz, 2009; Yarbus, 1967). All the above differences between films, reading, and other types of scene viewing suggest that a simple analogy between how viewers process each is likely to be wrong.
Fixation durations and saccade lengths can be very sensitive to manipulations of comprehension in reading at both local and global levels (Rayner, 1998), what is currently being fixated in scenes (Henderson & Pierce, 2008; Henderson & Smith, 2009), and manipulations of task in dynamic scenes (Smith & Mital, 2013). The event model hypothesis thus predicts there should be effects of our comprehension manipulation on these basic eye-movement metrics in the current study. Specifically, based on the logic that Context condition participants will hold knowledge of the bomb in their event model, the Event Model hypothesis would predict that when the car with the bomb is on the screen they should have tighter gaze on the car. This should result in shorter saccades and longer fixations. The inclusion of these measures should give a fuller picture of the eye-movement results to help interpret the effects for gaze similarity and region of interest below.
Based on the above, while watching a movie, breaking the Tyranny of Film may have two potential paths. The first could be to directly tap into a mandatory process (e.g., agent tracking) that may be necessary for maintaining local coherence. If the narrative one viewer perceives in a scene has entirely different characters than the narrative another perceives in the same scene, they should track different agents. We tested this hypothesis in the current study, but the film clip used appears to have been well constructed by the filmmakers to give high importance to both the walking couple and the couple in the car; thus, the observed agent effect was short-lived. The other track to breaking the Tyranny of Film is to move away from mandatory processing and automated comprehension processes. The map task appears to have done this, but it should be possible with a comprehension manipulation as well. For example, in Loschky et al. (2015), the effect on eye movements occurred during a complex cross-cutting sequence that required viewers to make an inference (that both sequences would come together in time and space and solve the life-and-death problem faced by the protagonist in one of the two sequences). The viewers that had more trouble making the inference about a critical shot showed eye-movement differences during that shot. However, this shot was essentially a static scene, and thus lacked important motion features to guide viewer attention. Thus, future work should test if a break in coherence allows viewers to move from mandatory processing to more effortful, volitional processing even during dynamic scenes in a film.
In "Romeo and Juliet" Act 3, Scene 5, the newly wedded Romeo and Juliet have spent the night together as husband and wife for the first time, but due to the deaths of Mercutio and Tybalt, Romeo must be gone before dawn to prevent his execution. They argue whether the bird they hear is the lark of the morning or the nightingale. Eventually, Juliet concedes it is the lark, and Romeo departs, but as he does, Juliet has a vision of him in a tomb. They discuss if this will be the last time they meet, foreshadowing the events to come. As soon as Romeo leaves, Juliet's mother, Lady Capulet, tells her she will be married to Paris on Thursday. When she refuses, Juliet states she would rather marry Romeo instead of Paris. Reacting to this, Lady Capulet says she wishes Juliet was in her grave, and her father, Lord Capulet, says if Juliet continues to refuse the marriage to Paris, he will throw her into the streets. When Lord and Lady Capulet exit, the Nurse tells Juliet that it would be better if she were to marry Paris, as Romeo is as good as dead. Juliet finally pretends to consent but goes to Friar Laurence for some form of poison to kill herself, if she cannot escape the marriage to Paris. The actions and words of this scene work to increase the tension and conflict in the plot through irony and foreshadowing. 2ff7e9595c
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