Temporal fractals in movies and mind.

Fractal patterns are seemingly everywhere. They can be analyzed through Fourier and power analyses, and other methods. Cutting, DeLong, and Nothelfer (2010) analyzed as time-series data the fluctuations of shot durations in 150 popular movies released over 70 years. They found that these patterns had become increasingly fractal-like and concluded that they might be linked to those found in the results of psychological tasks involving attention. To explore this possibility further, we began by analyzing the shot patterns of almost twice as many movies released over a century. The increasing fractal-like nature of shot patterns is affirmed, as determined by both a slope measure and a long-range dependence measure, neither of which is sensitive to the vector lengths of their inputs within the ranges explored here. But the main reason for increased long-range dependence is related to, but not caused by, the increasing vector length of the shot-series samples. It appears that, in generating increasingly fractal-like patterns, filmmakers have systematically explored dimensions that are important for holding our attention-shot durations, scene durations, motion, and sound amplitude-and have crafted fluctuations in them like those of our endogenous attention patterns. Other dimensions-luminance, clutter, and shot scale-are important to film style but their variations seem not to be important to holding viewers' moment-to-moment attention and have not changed in their fractional dimension over time.

Reverse correlating love: highly passionate women idealize their partner's facial appearance.

A defining feature of passionate love is idealization--evaluating romantic partners in an overly favorable light. Although passionate love can be expected to color how favorably individuals represent their partner in their mind, little is known about how passionate love is linked with visual representations of the partner. Using reverse correlation techniques for the first time to study partner representations, the present study investigated whether women who are passionately in love represent their partner's facial appearance more favorably than individuals who are less passionately in love. In a within-participants design, heterosexual women completed two forced-choice classification tasks, one for their romantic partner and one for a male acquaintance, and a measure of passionate love. In each classification task, participants saw two faces superimposed with noise and selected the face that most resembled their partner (or an acquaintance). Classification images for each of high passion and low passion groups were calculated by averaging across noise patterns selected as resembling the partner or the acquaintance and superimposing the averaged noise on an average male face. A separate group of women evaluated the classification images on attractiveness, trustworthiness, and competence. Results showed that women who feel high (vs. low) passionate love toward their partner tend to represent his face as more attractive and trustworthy, even when controlling for familiarity effects using the acquaintance representation. Using an innovative method to study partner representations, these findings extend our understanding of cognitive processes in romantic relationships.

Quicker, faster, darker: Changes in Hollywood film over 75 years.

We measured 160 English-language films released from 1935 to 2010 and found four changes. First, shot lengths have gotten shorter, a trend also reported by others. Second, contemporary films have more motion and movement than earlier films. Third, in contemporary films shorter shots also have proportionately more motion than longer shots, whereas there is no such relation in older films. And finally films have gotten darker. That is, the mean luminance value of frames across the length of a film has decreased over time. We discuss psychological effects associated with these four changes and suggest that all four linear trends have a single cause: Filmmakers have incrementally tried to exercise more control over the attention of filmgoers. We suggest these changes are signatures of the evolution of popular film; they do not reflect changes in film style.

Attention and the evolution of Hollywood film.

Reaction times exhibit a spectral patterning known as 1/f, and these patterns can be thought of as reflecting time-varying changes in attention. We investigated the shot structure of Hollywood films to determine if these same patterns are found. We parsed 150 films with release dates from 1935 to 2005 into their sequences of shots and then analyzed the pattern of shot lengths in each film. Autoregressive and power analyses showed that, across that span of 70 years, shots became increasingly more correlated in length with their neighbors and created power spectra approaching 1/f. We suggest, as have others, that 1/f patterns reflect world structure and mental process. Moreover, a 1/f temporal shot structure may help harness observers' attention to the narrative of a film.

Added noise affects the neural correlates of upright and inverted faces differently.

In five experiments, we examine the neural correlates of the interaction between upright faces, inverted faces, and visual noise. In Experiment 1, we examine a component termed the N170 for upright and inverted faces presented with and without noise. Results show a smaller amplitude for inverted faces than upright faces when presented in noise, whereas the reverse is true without noise. In Experiment 2, we show that the amplitude reversal is robust for full faces but not eyes alone across all noise levels. In Experiment 3, we vary contrast to see if this reversal is a result of degrading a face. We observe no reversal effects. Thus, across conditions, adding noise to full faces is a sufficient condition for the N170 reversal. In Experiment 4, we delay the onsets of the faces presented in noise. We replicate the smaller N170 for inverted faces at no delay but observe partial recovery of the N170 for inverted faces at longer delays in static noise. Experiment 5 demonstrates the interaction in low contrast at a behavioral level. We propose a model in which noise interacts with the processing properties of inverted faces more so than upright faces.