以眼動追蹤法探討電影拍攝手法對觀看行為之影響

An eye-tracking investigation into the influence of filming method on the viewing behavior

莊賢智(Hsien-Chih Chuang)；魏裕昌(Yuh-Chang Wei)；唐大崙(Da-Lun Tang)；唐子軒(Tzu-Hsuan Tang)

電影 ； 眼動追蹤 ； 蒙太奇 ； 長鏡頭 ； Film ； Eye-tracking ； Montage ； Long-take

商業設計學報

25期（2022 / 01 / 01）

3 - 11

繁體中文

現今人們處於隨時隨地觀看影音的眼球時代，可是顯少了解觀眾如何觀看電影，因此本研究透過眼動實驗方式，探討電影的長時間鏡頭與蒙太奇表現手法對於觀眾視覺心理之影響，以了解兩者拍攝手法在觀看行為之差異，研究發現，從具統計意義的動態熱區圖得知，以宏觀觀察長時間鏡頭和蒙太奇手法在整體眼動訊息沒有顯著差異。但是進一步微觀仔細觀看每一幀的畫面，發現不同拍攝手法的確會影響人們觀看行為與策略，當觀眾在觀看長時間鏡頭電影時，視線會更關注畫面內容的細節部份，集中觀眾注意力並有效引導觀眾觀看電影，而蒙太奇手法則會使觀眾視覺焦點注目在電影角色上，可以知道觀眾在此二種表現手法上理解劇情有不同之處。本研究結果有助於導演能夠更精準選擇運用較佳的拍攝手法，以因應電影拍攝與觀眾心理需求，進而讓觀眾能愉快沉浸地觀看電影，本研究以實證發展電影美學與認知心理的新方法，有助於電影理論與實務應用參考。

People today live in a time when video content is readily available, yet there is very limited knowledge on the visual perceptive process of film viewing. This study explores the effects of the filming techniques, the Long Take and the Montage on the visual perception, in order to understand the difference in viewing behavior between the two filming methods. Data from statistically derived heat-mapping reveal that there is no macroscopically significant difference in the overall eye movement information between the long take and the montage. However, when examining each frame in-depth reveals that the two methods indeed affect the viewing behavior and strategies. In a long take film segment, the eyes pay closer attention to the details of the images being displayed and the shot focuses the audience's attention while guiding it towards certain features. The montage, on the other hand, makes the audience focus on the actors in the film instead of the surroundings in the image, indicating that viewers come to different understanding of the plot depending on the filming method employed. The results of this study has the potential to aid film directors in more accurately selecting a suitable shooting method in order to mold a certain frame to the viewer psychological behavior, making it more immersive and enjoyable for the viewer. This research employs the novel methodology of empirical film aesthetics and cognitive psychology instrumental for application in film theory and practice.

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