Main content

Home

Menu

Loading wiki pages...

View
Wiki Version:
There are compositional biases in works of art that have been documented in static images. This study extends the analysis to moving pictures. We examined eight films by four different directors (Ford, Leone, Kurosawa, Chahine), each with a male actor in the major role. These directors are also from dif- ferent countries (USA, Italy, Japan, Egypt). The analysis focused on three compositional aspects: a) the orientation of the face of the actor (which cheek was visible), b) the position of the face within the im- age (positioned either to the left of the screen showing the left or right cheek or to the right of the screen showing the left or right cheek), and c) the movement of the actor within the scene (moving to the left or to the right). Unlike in paintings there is no evidence that the left cheek was visible more often than the right. However, we confirmed that position and facing direction are related, i.e. the actor tends to face toward the centre of the screen. With respect to the analyses of movement, there was a greater fre- quency of movements from left to right, and this may explain the lower than expected frequency of the left cheek. Interestingly, we found a cultural trend in that the pattern of results from Western directors did not extend to the films by Chahine, which may be influenced by reading direction.
OSF does not support the use of Internet Explorer. For optimal performance, please switch to another browser.
Accept
This website relies on cookies to help provide a better user experience. By clicking Accept or continuing to use the site, you agree. For more information, see our Privacy Policy and information on cookie use.
Accept
×

Start managing your projects on the OSF today.

Free and easy to use, the Open Science Framework supports the entire research lifecycle: planning, execution, reporting, archiving, and discovery.