著者

金井 明人 小玉 愛実

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.17, no.3, pp.444-458, 2010 (Released:2011-03-08)

参考文献数

27

被引用文献数

1

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Even from the same film material, change of the way to edit film makes it possible to emphasize the story and other characteristics than the story in the film. That consequently changes effects on the viewer. Editing film designs not only the film itself but also the cognitive relation between the film and the viewer. This study used the scene of The Passion of Joan of Arc by Carl Th. Dreyer that Joan cuts her hair, and edited 16 kinds of films. 10 of them were used to conduct a questionnaire survey and look at the designs. Especially in the dialectic editing emphasizing the story by adopting 4 kinds of montage theories (metric montage, rhythmic montage, tonal montage, and overtonal montage) by Eisenstein, the editing separating them off, and the editing combining both of them, we discuss the differences in the processes of designing rhythm of film in the cognitive relation with the viewer. Particularly in the film emphasizing irrational cutting aspects, viewer's viewpoints frequently changed, which indicated the move of viewpoints to other things like editing than the story, and in the film emphasizing the dialectic aspects, it was indicated that they tended to be absorbed in the story.

著者

金井 明人 小玉 愛実

出版者

日本認知科学会

雑誌

認知科学 = Cognitive studies : bulletin of the Japanese Cognitive Science Society (ISSN:13417924)

巻号頁・発行日

vol.17, no.3, pp.444-458, 2010-09-01

被引用文献数

1