I want you to think about the last movie you saw okay now think about the way it
you saw okay now think about the way it
you saw okay now think about the way it made you feel did it make you laugh or
made you feel did it make you laugh or
made you feel did it make you laugh or cry did make you anxious or angry
cry did make you anxious or angry
cry did make you anxious or angry regardless of how that film made you
regardless of how that film made you
regardless of how that film made you feel I think we’re all pretty familiar
feel I think we’re all pretty familiar
feel I think we’re all pretty familiar with the ability of films to manipulate
with the ability of films to manipulate
with the ability of films to manipulate our emotions but what you might not
our emotions but what you might not
our emotions but what you might not realize is the ability of films to
realize is the ability of films to
realize is the ability of films to manipulate the way we perceive
manipulate the way we perceive
manipulate the way we perceive audio-visual content
audio-visual content
audio-visual content my name is grant brighter I’m a film
my name is grant brighter I’m a film
my name is grant brighter I’m a film major a psychology major and in
major a psychology major and in
major a psychology major and in neuroscience and chemistry double minor
neuroscience and chemistry double minor
neuroscience and chemistry double minor as you can probably surmise by my messy
as you can probably surmise by my messy
as you can probably surmise by my messy combination of degrees I am interested
combination of degrees I am interested
combination of degrees I am interested in the intersection between film studies
in the intersection between film studies
in the intersection between film studies and cognition currently I’m working on
and cognition currently I’m working on
and cognition currently I’m working on experimental research that uses brain
experimental research that uses brain
experimental research that uses brain imaging and eye tracking technology to
imaging and eye tracking technology to
imaging and eye tracking technology to try and understand how people process
try and understand how people process
try and understand how people process films but in general the research I
films but in general the research I
films but in general the research I conduct involves analyzing films and
conduct involves analyzing films and
conduct involves analyzing films and then applying psychological principles
then applying psychological principles
then applying psychological principles to understand how they function and what
to understand how they function and what
to understand how they function and what I have found is that films represent
I have found is that films represent
I have found is that films represent something very unusual psychologically
something very unusual psychologically
something very unusual psychologically speaking while most of us find film
speaking while most of us find film
speaking while most of us find film viewing to be an effortless almost
viewing to be an effortless almost
viewing to be an effortless almost mindless experience film viewing is in
mindless experience film viewing is in
mindless experience film viewing is in fact an extremely unnatural cognitive
fact an extremely unnatural cognitive
fact an extremely unnatural cognitive process take a look at this video I’m
process take a look at this video I’m
process take a look at this video I’m guessing what you saw was a woman
guessing what you saw was a woman
guessing what you saw was a woman walking through a door and then
walking through a door and then
walking through a door and then teleporting to the middle of a yard now
teleporting to the middle of a yard now
teleporting to the middle of a yard now we certainly don’t see anything like
we certainly don’t see anything like
we certainly don’t see anything like this in our day to day experience so why
this in our day to day experience so why
this in our day to day experience so why would we perceive the events in this
would we perceive the events in this
would we perceive the events in this video in this manner these days we see a
video in this manner these days we see a
video in this manner these days we see a lot of big-budget blockbuster movies
lot of big-budget blockbuster movies
lot of big-budget blockbuster movies that are completely drenched in CGI and
that are completely drenched in CGI and
that are completely drenched in CGI and these types of films it’s not unusual
these types of films it’s not unusual
these types of films it’s not unusual for us to see images of people magically
for us to see images of people magically
for us to see images of people magically teleporting to new locations but in this
teleporting to new locations but in this
teleporting to new locations but in this video clip
video clip
video clip there’s no CGI we also don’t have some
there’s no CGI we also don’t have some
there’s no CGI we also don’t have some sort of fantastical narrative to
sort of fantastical narrative to
sort of fantastical narrative to motivate this perception we simply have
motivate this perception we simply have
motivate this perception we simply have to juxtaposed images in spite of being
to juxtaposed images in spite of being
to juxtaposed images in spite of being too unique distinct images our mind
too unique distinct images our mind
too unique distinct images our mind unites them together into a seamless
unites them together into a seamless
unites them together into a seamless narrative what’s going on here the
narrative what’s going on here the
narrative what’s going on here the answer lies within a phenomenon that
answer lies within a phenomenon that
answer lies within a phenomenon that pervades popular narrative films you
pervades popular narrative films you
pervades popular narrative films you know the sort of stuff you typically see
know the sort of stuff you typically see
know the sort of stuff you typically see when you go to the local movie theater
when you go to the local movie theater
when you go to the local movie theater see there’s a common thread that unites
see there’s a common thread that unites
see there’s a common thread that unites these types of films whether it’s avatar
these types of films whether it’s avatar
these types of films whether it’s avatar or the notebook or Finding Nemo they’re
or the notebook or Finding Nemo they’re
or the notebook or Finding Nemo they’re all constructed in an almost identical
all constructed in an almost identical
all constructed in an almost identical manner that is to say the individual
manner that is to say the individual
manner that is to say the individual shots of these films are all stitched
shots of these films are all stitched
shots of these films are all stitched together according to the exact same set
together according to the exact same set
together according to the exact same set of principles the same set of greed upon
of principles the same set of greed upon
of principles the same set of greed upon rules that dictate the Assembly of
rules that dictate the Assembly of
rules that dictate the Assembly of movies it’s part of practice known as
movies it’s part of practice known as
movies it’s part of practice known as continuity editing continuity editing
continuity editing continuity editing
continuity editing continuity editing encompasses a variety of film editing
encompasses a variety of film editing
encompasses a variety of film editing techniques that are designed to help the
techniques that are designed to help the
techniques that are designed to help the viewer maintain a coherent sense of
viewer maintain a coherent sense of
viewer maintain a coherent sense of space and time within a film’s narrative
space and time within a film’s narrative
space and time within a film’s narrative one example of a continuity technique is
one example of a continuity technique is
one example of a continuity technique is called the match on action this is a
called the match on action this is a
called the match on action this is a technique in which a movement is begun
technique in which a movement is begun
technique in which a movement is begun in one shot and then completed in the
in one shot and then completed in the
in one shot and then completed in the next here’s an example we see one
next here’s an example we see one
next here’s an example we see one continuous motion but know how the pie
continuous motion but know how the pie
continuous motion but know how the pie begins moving forward in one shot and
begins moving forward in one shot and
begins moving forward in one shot and then collides with its target in the
then collides with its target in the
then collides with its target in the next shot
next shot
next shot they’re disjointed images person winding
they’re disjointed images person winding
they’re disjointed images person winding up with pie then close up of pie and
up with pie then close up of pie and
up with pie then close up of pie and face yet we accept that the disembodied
face yet we accept that the disembodied
face yet we accept that the disembodied hand in this second shot belongs to the
hand in this second shot belongs to the
hand in this second shot belongs to the person winding up with the pie in the
person winding up with the pie in the
person winding up with the pie in the previous shot though logically it can’t
previous shot though logically it can’t
previous shot though logically it can’t be proven I mean they’re completely
be proven I mean they’re completely
be proven I mean they’re completely separate images but see that’s the power
separate images but see that’s the power
separate images but see that’s the power of continuity editing it allows our mind
of continuity editing it allows our mind
of continuity editing it allows our mind to unite distinct images into a seamless
to unite distinct images into a seamless
to unite distinct images into a seamless narrative in this case someone shoving a
narrative in this case someone shoving a
narrative in this case someone shoving a pie into my face our mind processes this
pie into my face our mind processes this
pie into my face our mind processes this type of edits so intuitively that even
type of edits so intuitively that even
type of edits so intuitively that even when there’s a strange anomaly our mind
when there’s a strange anomaly our mind
when there’s a strange anomaly our mind still processes films in accordance with
still processes films in accordance with
still processes films in accordance with our expectations about this technique
our expectations about this technique
our expectations about this technique that’s part of why we think we’re
that’s part of why we think we’re
that’s part of why we think we’re watching this woman transport to a new
watching this woman transport to a new
watching this woman transport to a new location our mind is accustomed to the
location our mind is accustomed to the
location our mind is accustomed to the use of continuity editing to delineate
use of continuity editing to delineate
use of continuity editing to delineate and there
and there
and there and thus it expects the sequence of
and thus it expects the sequence of
and thus it expects the sequence of images to present us with a logical
images to present us with a logical
images to present us with a logical progression of character and of story
progression of character and of story
progression of character and of story because of the continuation of motion
because of the continuation of motion
because of the continuation of motion from shot to shot so even though the cut
from shot to shot so even though the cut
from shot to shot so even though the cut jumps from one location to another our
jumps from one location to another our
jumps from one location to another our mind still presents us with a coherent
mind still presents us with a coherent
mind still presents us with a coherent narrative now if I showed you an image
narrative now if I showed you an image
narrative now if I showed you an image of the woman or walking through the door
of the woman or walking through the door
of the woman or walking through the door and then a shot of her just kind of
and then a shot of her just kind of
and then a shot of her just kind of standing in the yard you probably be
standing in the yard you probably be
standing in the yard you probably be more likely to see these two shots for
more likely to see these two shots for
more likely to see these two shots for what they are distinct separate images
what they are distinct separate images
what they are distinct separate images but the continuation of motion engages
but the continuation of motion engages
but the continuation of motion engages our expectations of narrative that’s
our expectations of narrative that’s
our expectations of narrative that’s causing our minds to produce a narrative
causing our minds to produce a narrative
causing our minds to produce a narrative anomalous though it may be that unites
anomalous though it may be that unites
anomalous though it may be that unites the two shots the end result is
the two shots the end result is
the two shots the end result is teleportation now it’s important to
teleportation now it’s important to
teleportation now it’s important to understand that continuity editing is
understand that continuity editing is
understand that continuity editing is not the only type of film editing out
not the only type of film editing out
not the only type of film editing out there in avant-garde cinema and in many
there in avant-garde cinema and in many
there in avant-garde cinema and in many of the famous films that came out of the
of the famous films that came out of the
of the famous films that came out of the Soviet Union different styles of film
Soviet Union different styles of film
Soviet Union different styles of film editing are employed to express stories
editing are employed to express stories
editing are employed to express stories these include cutting in a rhythmic
these include cutting in a rhythmic
these include cutting in a rhythmic pattern or throwing images together into
pattern or throwing images together into
pattern or throwing images together into a chaotic montage continuity editing is
a chaotic montage continuity editing is
a chaotic montage continuity editing is simply what we encounter most frequently
simply what we encounter most frequently
simply what we encounter most frequently it’s employed overwhelmingly not just in
it’s employed overwhelmingly not just in
it’s employed overwhelmingly not just in the movies we watch but also than the
the movies we watch but also than the
the movies we watch but also than the television shows we watch too it’s
television shows we watch too it’s
television shows we watch too it’s engrained in our visual culture and just
engrained in our visual culture and just
engrained in our visual culture and just like any other part of our culture
like any other part of our culture
like any other part of our culture whether it’s the food we eat or the
whether it’s the food we eat or the
whether it’s the food we eat or the clothes we wear there’s nothing natural
clothes we wear there’s nothing natural
clothes we wear there’s nothing natural about it it’s something that we’ve been
about it it’s something that we’ve been
about it it’s something that we’ve been conditioned to and most of us have been
conditioned to and most of us have been
conditioned to and most of us have been undergoing this conditioning our entire
undergoing this conditioning our entire
undergoing this conditioning our entire lives so what would it be like to watch
lives so what would it be like to watch
lives so what would it be like to watch a continuity style movie for the first
a continuity style movie for the first
a continuity style movie for the first time as an adult well two scientists
time as an adult well two scientists
time as an adult well two scientists decided that they are going to find out
decided that they are going to find out
decided that they are going to find out in 2010 and again in 2015 scientists
in 2010 and again in 2015 scientists
in 2010 and again in 2015 scientists Stephen Sean and Sarma Nilda are hiked
Stephen Sean and Sarma Nilda are hiked
Stephen Sean and Sarma Nilda are hiked out to a remote region in southern
out to a remote region in southern
out to a remote region in southern Turkey where they found adults who had
Turkey where they found adults who had
Turkey where they found adults who had never seen a movie before in their life
never seen a movie before in their life
never seen a movie before in their life they then showed these adults various
they then showed these adults various
they then showed these adults various video clips that
video clips that
video clips that straighted certain continuity editing
straighted certain continuity editing
straighted certain continuity editing techniques they also showed these same
techniques they also showed these same
techniques they also showed these same clips to another group of adults of a
clips to another group of adults of a
clips to another group of adults of a similar distribution of age gender
similar distribution of age gender
similar distribution of age gender education level and cultural and
education level and cultural and
education level and cultural and geographic background who have been
geographic background who have been
geographic background who have been watching film clips for 10 to 20 years
watching film clips for 10 to 20 years
watching film clips for 10 to 20 years when they compared these two groups
when they compared these two groups
when they compared these two groups interpretations of the video clips they
interpretations of the video clips they
interpretations of the video clips they found very different interpretations of
found very different interpretations of
found very different interpretations of what was going on one example of a video
what was going on one example of a video
what was going on one example of a video clip that they showed looked something
clip that they showed looked something
clip that they showed looked something like this
like this
like this where we see the exterior of some
where we see the exterior of some
where we see the exterior of some building followed by a shot in some
building followed by a shot in some
building followed by a shot in some interior space now this is an editing
interior space now this is an editing
interior space now this is an editing technique known as the establishing shot
technique known as the establishing shot
technique known as the establishing shot otherwise known as the beginning to
otherwise known as the beginning to
otherwise known as the beginning to every scene in every sitcom ever and
every scene in every sitcom ever and
every scene in every sitcom ever and this is by design you see the
this is by design you see the
this is by design you see the establishing shot is typically used at
establishing shot is typically used at
establishing shot is typically used at the beginning of a new scene to cue the
the beginning of a new scene to cue the
the beginning of a new scene to cue the viewer to the fact that the story has
viewer to the fact that the story has
viewer to the fact that the story has shifted to a new location as such is
shifted to a new location as such is
shifted to a new location as such is typically assumed that the action going
typically assumed that the action going
typically assumed that the action going on in the second shot is whatever is
on in the second shot is whatever is
on in the second shot is whatever is occurring in the building depicted in
occurring in the building depicted in
occurring in the building depicted in the previous shot indeed this is how
the previous shot indeed this is how
the previous shot indeed this is how experienced film viewers in the study
experienced film viewers in the study
experienced film viewers in the study interpreted this type of edit
interpreted this type of edit
interpreted this type of edit however in experienced film viewers came
however in experienced film viewers came
however in experienced film viewers came to a completely different understanding
to a completely different understanding
to a completely different understanding what was going on so when experienced
what was going on so when experienced
what was going on so when experienced film viewers saw this type of clip
film viewers saw this type of clip
film viewers saw this type of clip here’s what they said I saw a house and
here’s what they said I saw a house and
here’s what they said I saw a house and person sitting in it but when
person sitting in it but when
person sitting in it but when inexperienced viewers saw it they
inexperienced viewers saw it they
inexperienced viewers saw it they responded ok there’s a house there’s
responded ok there’s a house there’s
responded ok there’s a house there’s someone sitting in a room they see these
someone sitting in a room they see these
someone sitting in a room they see these two shots as being unrelated so when
two shots as being unrelated so when
two shots as being unrelated so when asked which house the person was sitting
asked which house the person was sitting
asked which house the person was sitting in in experienced film viewers would say
in in experienced film viewers would say
in in experienced film viewers would say I don’t see a house or if they were a
I don’t see a house or if they were a
I don’t see a house or if they were a little sassy they might say well I don’t
little sassy they might say well I don’t
little sassy they might say well I don’t know her personally so how do I know
know her personally so how do I know
know her personally so how do I know where her house looks like
where her house looks like
where her house looks like it seems as though film experience is
it seems as though film experience is
it seems as though film experience is affecting how these clips are being
affecting how these clips are being
affecting how these clips are being interpreted it seems as though
interpreted it seems as though
interpreted it seems as though inexperienced film viewers aren’t making
inexperienced film viewers aren’t making
inexperienced film viewers aren’t making the same assumptions or conclusions that
the same assumptions or conclusions that
the same assumptions or conclusions that experienced film viewers are in this
experienced film viewers are in this
experienced film viewers are in this study that used another video clip that
study that used another video clip that
study that used another video clip that looks something like this this is
looks something like this this is
looks something like this this is another continuity editing pattern
another continuity editing pattern
another continuity editing pattern called the shot reverse shot you
called the shot reverse shot you
called the shot reverse shot you typically see this sequence when two
typically see this sequence when two
typically see this sequence when two people are having a conversation in a
people are having a conversation in a
people are having a conversation in a film experienced viewers typically
film experienced viewers typically
film experienced viewers typically interpreted these final two shots of the
interpreted these final two shots of the
interpreted these final two shots of the film as alternating camera angles
film as alternating camera angles
film as alternating camera angles between two people as they continue to
between two people as they continue to
between two people as they continue to sit and stare at each other however once
sit and stare at each other however once
sit and stare at each other however once again in experienced film viewers had a
again in experienced film viewers had a
again in experienced film viewers had a completely different understanding of
completely different understanding of
completely different understanding of what was going on when the video cut two
what was going on when the video cut two
what was going on when the video cut two shot three here inexperienced viewers
shot three here inexperienced viewers
shot three here inexperienced viewers thought that the person is shot two
thought that the person is shot two
thought that the person is shot two walked away or disappeared they also
walked away or disappeared they also
walked away or disappeared they also thought that in these final two shots
thought that in these final two shots
thought that in these final two shots rather than perceiving alternating
rather than perceiving alternating
rather than perceiving alternating camera angles they sensed that the
camera angles they sensed that the
camera angles they sensed that the individuals were turning towards the
individuals were turning towards the
individuals were turning towards the camera in experience film viewers were
camera in experience film viewers were
camera in experience film viewers were coming to completely different
coming to completely different
coming to completely different conclusions about the spatial
conclusions about the spatial
conclusions about the spatial relationships and even the behaviors of
relationships and even the behaviors of
relationships and even the behaviors of the characters in the scene so this
the characters in the scene so this
the characters in the scene so this provides further evidence that our
provides further evidence that our
provides further evidence that our experience with continuity editing is
experience with continuity editing is
experience with continuity editing is affecting the way we perceive continuity
affecting the way we perceive continuity
affecting the way we perceive continuity editing and this makes sense in light of
editing and this makes sense in light of
editing and this makes sense in light of other research that suggests our
other research that suggests our
other research that suggests our experiences with media affect the way we
experiences with media affect the way we
experiences with media affect the way we perceive stories in 1920 there was a
perceive stories in 1920 there was a
perceive stories in 1920 there was a british psychologist named Frederick
british psychologist named Frederick
british psychologist named Frederick Bartlett who widest see what would
Bartlett who widest see what would
Bartlett who widest see what would happen when he had British subjects read
happen when he had British subjects read
happen when he had British subjects read a story from a culture unlike their own
a story from a culture unlike their own
a story from a culture unlike their own so he had his bridge test subjects read
so he had his bridge test subjects read
so he had his bridge test subjects read an old Native American legend
an old Native American legend
an old Native American legend specifically in Elgin of tale that
specifically in Elgin of tale that
specifically in Elgin of tale that incorporated concepts and a narrative
incorporated concepts and a narrative
incorporated concepts and a narrative structure that were unfamiliar to a
structure that were unfamiliar to a
structure that were unfamiliar to a British audience
British audience
British audience what he found was that the story details
what he found was that the story details
what he found was that the story details the British subjects remembered
the British subjects remembered
the British subjects remembered accurately were those that correlated
accurately were those that correlated
accurately were those that correlated most closely with their previous
most closely with their previous
most closely with their previous experiences with storytelling that is
experiences with storytelling that is
experiences with storytelling that is the stories of a British literary mill
the stories of a British literary mill
the stories of a British literary mill you story details that were unfamiliar
you story details that were unfamiliar
you story details that were unfamiliar to them were adjusted or omitted so
to them were adjusted or omitted so
to them were adjusted or omitted so their recollection this story fit
their recollection this story fit
their recollection this story fit narrative conventions established by
narrative conventions established by
narrative conventions established by their British culture their experiences
their British culture their experiences
their British culture their experiences with media as established by their
with media as established by their
with media as established by their culture exerted some sort of influence
culture exerted some sort of influence
culture exerted some sort of influence on their understanding of the story what
on their understanding of the story what
on their understanding of the story what this study indicates is that the mind is
this study indicates is that the mind is
this study indicates is that the mind is not passively taking in information it’s
not passively taking in information it’s
not passively taking in information it’s actively manipulating it in that sense
actively manipulating it in that sense
actively manipulating it in that sense your brain is kind of like a little kid
your brain is kind of like a little kid
your brain is kind of like a little kid with a play-doh set because just like
with a play-doh set because just like
with a play-doh set because just like how a little kid will stuff the play-doh
how a little kid will stuff the play-doh
how a little kid will stuff the play-doh into various molds that come with the
into various molds that come with the
into various molds that come with the set our brain stuffs the play-doh of
set our brain stuffs the play-doh of
set our brain stuffs the play-doh of reality into certain molds as well
reality into certain molds as well
reality into certain molds as well except these molds can’t be purchased at
except these molds can’t be purchased at
except these molds can’t be purchased at the toy store for $19.99 these are molds
the toy store for $19.99 these are molds
the toy store for $19.99 these are molds that are produced by our experiences so
that are produced by our experiences so
that are produced by our experiences so when the media continually feeds us the
when the media continually feeds us the
when the media continually feeds us the same editing techniques again and again
same editing techniques again and again
same editing techniques again and again those editing techniques become another
those editing techniques become another
those editing techniques become another mold in our existential play-doh set and
mold in our existential play-doh set and
mold in our existential play-doh set and this is how continuity editing ends up
this is how continuity editing ends up
this is how continuity editing ends up influencing the reality we perceive on
influencing the reality we perceive on
influencing the reality we perceive on screen sometimes this can be used to
screen sometimes this can be used to
screen sometimes this can be used to trick us take a look at this clip
chances are you saw a bunch of different
chances are you saw a bunch of different clones of the same guy looking at each
clones of the same guy looking at each
clones of the same guy looking at each other of course these were just
other of course these were just
other of course these were just individual shots of the same person
individual shots of the same person
individual shots of the same person taken one after the other that were then
taken one after the other that were then
taken one after the other that were then aligned in such a manner that our mind
aligned in such a manner that our mind
aligned in such a manner that our mind sutures them all together into one
sutures them all together into one
sutures them all together into one coherent story in this case we again
coherent story in this case we again
coherent story in this case we again have our familiarity with a continuity
have our familiarity with a continuity
have our familiarity with a continuity editing technique being taken advantage
editing technique being taken advantage
editing technique being taken advantage of this one is called the eye line mash
of this one is called the eye line mash
of this one is called the eye line mash an eye line match occurs when we have a
an eye line match occurs when we have a
an eye line match occurs when we have a shot of a person looking in a certain
shot of a person looking in a certain
shot of a person looking in a certain direction followed by another shot of a
direction followed by another shot of a
direction followed by another shot of a different person or an object now it’s
different person or an object now it’s
different person or an object now it’s typically assumed that the object or
typically assumed that the object or
typically assumed that the object or person in that second shot is whatever
person in that second shot is whatever
person in that second shot is whatever the person in the first shot is looking
the person in the first shot is looking
the person in the first shot is looking at what you see here is a prototypical
at what you see here is a prototypical
at what you see here is a prototypical example of the of the eye line match but
example of the of the eye line match but
example of the of the eye line match but it’s pretty much the same sequence of
it’s pretty much the same sequence of
it’s pretty much the same sequence of images that we saw repeated again and
images that we saw repeated again and
images that we saw repeated again and again in the video that we just watched
again in the video that we just watched
again in the video that we just watched except instead of looking at another
except instead of looking at another
except instead of looking at another person or object this guy is being set
person or object this guy is being set
person or object this guy is being set up so that peers as though he’s looking
up so that peers as though he’s looking
up so that peers as though he’s looking at himself in the chiffon and Eldar our
at himself in the chiffon and Eldar our
at himself in the chiffon and Eldar our study a more simplistic example of the
study a more simplistic example of the
study a more simplistic example of the island match was he used kind of like
island match was he used kind of like
island match was he used kind of like the one you see here but even then they
the one you see here but even then they
the one you see here but even then they were still finding intriguing
were still finding intriguing
were still finding intriguing differences between the interpretations
differences between the interpretations
differences between the interpretations that the two groups studies were having
that the two groups studies were having
that the two groups studies were having that is the inexperienced versus the
that is the inexperienced versus the
that is the inexperienced versus the experienced viewers experienced viewers
experienced viewers experienced viewers
experienced viewers experienced viewers pretty much always interpreted this clip
pretty much always interpreted this clip
pretty much always interpreted this clip the way we interpret it whatever that
the way we interpret it whatever that
the way we interpret it whatever that thing in the second shot is that’s
thing in the second shot is that’s
thing in the second shot is that’s what’s being observed by the person in
what’s being observed by the person in
what’s being observed by the person in the first shot now inexperienced viewers
the first shot now inexperienced viewers
the first shot now inexperienced viewers often saw this same relationship but
often saw this same relationship but
often saw this same relationship but there are some times where they didn’t
there are some times where they didn’t
there are some times where they didn’t instead seeing no relationship between
instead seeing no relationship between
instead seeing no relationship between the two shots so it indeed appears as
the two shots so it indeed appears as
the two shots so it indeed appears as though our experience with continuity
though our experience with continuity
though our experience with continuity editing is causing us to make certain
editing is causing us to make certain
editing is causing us to make certain assumptions about the way films are
assumptions about the way films are
assumptions about the way films are structured and the way they’re meant to
structured and the way they’re meant to
structured and the way they’re meant to be interpreted repeatedly seeing the
be interpreted repeatedly seeing the
be interpreted repeatedly seeing the same continuity editing techniques
same continuity editing techniques
same continuity editing techniques are causing us to interpret movies in
are causing us to interpret movies in
are causing us to interpret movies in the same standardized way even when they
the same standardized way even when they
the same standardized way even when they don’t totally fit the continuity formula
don’t totally fit the continuity formula
don’t totally fit the continuity formula what this suggests is that our
what this suggests is that our
what this suggests is that our perceptions are being crafted by the
perceptions are being crafted by the
perceptions are being crafted by the media we’re exposed to now I think we
media we’re exposed to now I think we
media we’re exposed to now I think we understand how this is true in terms of
understand how this is true in terms of
understand how this is true in terms of the way the media influences our ideas
the way the media influences our ideas
the way the media influences our ideas from which issues are important to what
from which issues are important to what
from which issues are important to what we know about those issues but what our
we know about those issues but what our
we know about those issues but what our cut what our conditioning to continuity
cut what our conditioning to continuity
cut what our conditioning to continuity editing suggests is something far more
editing suggests is something far more
editing suggests is something far more subtle than that what this suggests is
subtle than that what this suggests is
subtle than that what this suggests is that the media influences not just our
that the media influences not just our
that the media influences not just our ideas about information it also
ideas about information it also
ideas about information it also influences the very mechanics by which
influences the very mechanics by which
influences the very mechanics by which we take in and process that information
we take in and process that information
we take in and process that information the media hardwires us to foresee the
the media hardwires us to foresee the
the media hardwires us to foresee the world in a certain way so if this is the
world in a certain way so if this is the
world in a certain way so if this is the effect that movies can have on us what
effect that movies can have on us what
effect that movies can have on us what effect do other forms of media have on
effect do other forms of media have on
effect do other forms of media have on our cognitive processes like the
our cognitive processes like the
our cognitive processes like the internet and virtual reality
internet and virtual reality
internet and virtual reality technologies and is this impact just
technologies and is this impact just
technologies and is this impact just enough to create some neat optical
enough to create some neat optical
enough to create some neat optical illusions or can it indirectly influence
illusions or can it indirectly influence
illusions or can it indirectly influence the way we develop our worldviews now I
the way we develop our worldviews now I
the way we develop our worldviews now I can’t speak for these other forms of
can’t speak for these other forms of
can’t speak for these other forms of media but I can say that continuity
media but I can say that continuity
media but I can say that continuity style film is fundamentally influencing
style film is fundamentally influencing
style film is fundamentally influencing our perceptual processes so the next
our perceptual processes so the next
our perceptual processes so the next time you go to the theater for what you
time you go to the theater for what you
time you go to the theater for what you think is just a mindless diversion
think is just a mindless diversion
think is just a mindless diversion remember that movie you’re watching can
remember that movie you’re watching can
remember that movie you’re watching can influence the way you think thank you
influence the way you think thank you
you
you [Music]
”
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