Cuts serve as a ubiquitous artistic tool that film and media editors use to effectively transport the narrative (e.g., Bordwell & Thompson, 2001 Frith & Robson, 1975 Hochberg & Brooks, 1996 Murch, 2001). Since the early days of cinema, the average shot length between two cuts declined from more than 12 s to below 4 s in contemporary movies (Cutting, DeLong, & Nothelfer, 2010). Such cuts may appear within a scene or jointly with a change of scene. A general characteristic of edited material is that it contains cuts every couple of seconds, which are abrupt visual changes from one shot to another. In spite of these developments, relatively little experimental work has been devoted to understanding how the human visual system processes such edited material.
The relevance and pervasiveness of edited material has been growing in recent years, since Internet streaming on laptops, smart phones, and other mobile devices became broadly available. These are consumed on a daily basis by many individuals.
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We conclude that following cuts of high visual similarity, memory-guided attention facilitates the deployment of attention, but this effect is (top-down) dependent on the viewer's active matching of scene content across cuts.įeature films, TV shows, newscasts, video clips, and most content from video-sharing websites are instances of edited visual dynamic scenes. Here, even the highest similarity across cuts did not capture attention. Experiment 3 tested whether this could be explained by stimulus-driven (bottom-up) priming by feature similarity, using one clip at screen center that was followed by two alternative continuations to the left and right. In Experiments 1 and 2, participants were able to deploy attention more rapidly and accurately to the target movie's continuation when visual similarity was high than when it was low.
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In Experiments 1 and 2, participants actively viewed a target movie that randomly switched locations with a second, distractor movie at the time of the cuts. We manipulated visual similarity across cuts, and measured how this affected covert attention ( Experiment 1) and overt attention ( Experiments 2 and 3). Here, we tested to which degree memory for the visual features of the precut shot facilitates shifting attention to the postcut shot.
Cuts occur within or between scenes, and often join together visually and semantically related shots. Films, TV shows, and other edited dynamic scenes contain many cuts, which are abrupt transitions from one video shot to the next.
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