Hitchcock used brain science to hook his viewers

June 7th, 2008 - 4:43 pm ICT by ANI  

Washington, June 7 (ANI): Ever wondered why Alfred Hitchcocks suspense thrillers are so successful in keeping its viewers on the edge of their seats? Well, theyre good is one point for sure, but according to a new research, the Master of Suspense had the ability to intentionally construct his films sequences through aesthetic means.

The study, conducted by New York University neuroscientists, offers a quantitative neuroscientific assessment of the impact of different styles of filmmaking on viewers’ brains, it may serve as a valuable method for the film industry to better assess its products and offer a new method for exploring how the brain works.

Using advanced functional imaging methods, the researchers have found that certain motion pictures can exert considerable control over brain activity.

Moreover, the impact of films varies according to movie content, editing, and directing style.

The researchers relied on two methodological tools in their study: functional magnetic resonance imaging (fMRI) and inter-subject correlation (ISC) analysis.

fMRI utilizes a magnetic resonance imaging (MRI) scannerlike that routinely used for clinical evaluation of human anatomy. But it is reprogrammed to get a time-series of three-dimensional images of brain activity.

In a typical fMRI experiment, a time-series of brain activity images is collected while a stimulus or cognitive task is varied. ISC analysis is employed to measure similarities in brain activity across viewersin this case, it compared the response in each brain region from one viewer to the response in the same brain region from other viewers.

Because all viewers were exposed to the same films, computing ISC on a region-by-region basis identified brain regions in which the responses were similar across viewers.

“In cinema, some films lead most viewers through a similar sequence of perceptual, emotional, and cognitive states,” the researchers wrote.

“Such a tight grip on viewers’ minds will be reflected in the similarity of the brain activityor high ISCacross most viewers. By contrast, other films exerteither intentionally or unintentionallyless control over viewers’ responses during movie watching. In such cases we expect that there will be less control over viewers’ brain activity, resulting in low ISC, the researchers added.

To stimulate subjects’ brain activity, the researchers showed them three motion picture clips: thirty minutes of Sergio Leone’s “The Good, the Bad and the Ugly”; an episode of Alfred Hitchcock Presents “Bang! You’re Dead”; and an episode of Larry David’s “Curb Your Enthusiasm.” To establish a baseline, subjects viewed a clip of unstructured reality: a 10-minute, unedited, one-shot video filmed during a concert in New York City’s Washington Square Park.

The results showed that ISC of responses in subjects’ neocortexthe portion of the brain responsible for perception and cognitiondiffered across the four movies- the Hitchcock episode evoked similar responses across all viewers in over 65 percent of the neocortex, indicating a high level of control on viewers’ minds; high ISC was also extensive (45 percent) for “The Good, the Bad and the Ugly”; lower ISC was recorded for “Curb Your Enthusiasm” (18 percent) and for the Washington Square Park, or unstructured reality, clip (less than 5 percent)

“Our data suggest that achieving a tight control over viewers’ brains during a movie requires, in most cases, intentional construction of the film’s sequence through aesthetic means,” the researchers wrote.

“The fact that Hitchcock was able to orchestrate the responses of so many different brain regions, turning them on and off at the same time across all viewers, may provide neuroscientific evidence for his notoriously famous ability to master and manipulate viewers’ minds. Hitchcock often liked to tell interviewers that for him ‘creation is based on an exact science of audience reactions, they added.

However, the researchers emphasized that low and high ISC does not necessarily imply that the viewers were not attentive to or not engaged with the events in those films.

The study is published in Projections: The Journal for Movies and Mind. (ANI)

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