Seeing into Screens

Tessa Dwyer is Lecturer, Film and Screen Studies at the School of Culture and Communication at Monash University, Caulfield Campus, Australia. Her publications include contributions in the edited collections Locating the Voice in Film, Contemporary Publics, State of Post-Cinema, and journals across the disciplines of Screen Studies, Translation Studies and Cultural Studies. Her most recent publication appeared in A Reader in International Media Piracy. Claire Perkins is Senior Lecturer in Film and Screen Studies in the School of Media, Film and Journalism at Monash University, Australia. She is the author of American Smart Cinema (2012), and co-editor of U.S Independent Film After 1989: Possible Films (2015), B is for Bad Cinema: Aesthetics, Politics and Cultural Value (2014) and Film Trilogies: New Critical Approaches (2014). Sean Redmond is Associate Professor in Media and Communication at Deakin University in Melbourne, Australia. He is editor of the journal Celebrity Studies, author of The Cinema of Takeshi Kitano: Flowering Blood (2013), and Celebrity and the Media (2013). Jodi Sita is Senior Lecturer in Anatomy and Neurosciences in the School of Allied Health at Australian Catholic University, Australia. She is a neuroscientist, health scientist, and eye-tracking expert, heading the eye-tracking laboratory at Australian Catholic University.

Introduction: the Blackest and Whitest of Swans (Tessa Dwyer, Monash University, Australia; Claire Perkins, Monash University, Australia; Sean Redmond, Deakin University, Australia; Jodi Sita, Australian Catholic University, Australia)

Section 1: Seeing the Eye
1. In Order to See, You Must Look Away: Thinking About the Eye (William Brown, University of Roehampton, London, UK)

2. Invisible Rhythms: Tracking Aesthetic Perception in Film and the Visual Arts (Paul Atkinson, Monash University, Melbourne, Australia)

3. The Development of Eye Tracking in Empirical Research on Subtitling and Captioning: from Individual Measures to Constructs of Visual Attention, Cognitive Load, and Psychological Immersion (Stephen Doherty, University of New South Wales, Australia, Jan-Louis Kruger, Macquarie University, Australia)

4. Into the film with Music. Measuring Eyeblinks to Explore the Role of Film Music for Emotional Arousal and Narrative Transportation (Ann-Kristin Wallengren and Alexander Strukelj, Lund University, Sweden)

5. Looking at Sound: Sound Design and the Audiovisual Influences on Gaze (Jonathan P. Batten and Tim J. Smith, Birkbeck, University of London, UK)

6. Passing Time: Eye Tracking Slow Cinema (Tessa Dwyer and Claire Perkins, Monash University, Australia)

Section 2: The Eye Seeing
7. Shaping Abstractions: Eye Tracking Experimental Film (Sean Redmond, Deakin, Australia and Jodi Sita, Australian Catholic University, Australia)

8. Audiences as Detectives: Eye Tracking and Problem Solving in Screen Mysteries (Jared Orth, University of Melbourne, Australia)

9. Discordant Faces, Duplicitous Feelings: The Eye’s Affective Lures of Drive (Laura Henderson, Monash University, Australia)

10. Using Eye Tracking and Raiders of the Lost Ark (1981) to Investigate Stardom (Sarah Thomas, Aberystwyth University, UK, Adam Qureshi and Amy Bell, Edge Hill University, UK)

11. A proposed workflow for the creation of integrated titles – Based on eye tracking data (Wendy Fox, Johannes Gutenberg University of Mainz, Germany)

12. Eye-tracking, Subtitling and Accessible Filmmaking (Pablo Romero-Fresco, University of Roehampton, London, UK)

Bibliography
Index