Attention, memory, and narrative interpretation of Michel Gondry’s The Green Hornet: Comparing 2D and 3D film viewing using eye-tracking and self-report

Abstract

Historically 3D effect in film has been used as a relatively superficial aesthetic attraction. Here we consider and test the idea that 3D can be used to guide viewer attention and narrative interpretation in film. The current study used self-report measures in conjunction with eye-tracking technology to record attention, memory and narrative interpretation of 32 participants (25 female). Eye-gaze behaviour was recorded while half of the participants were randomly assigned to watch Michel Gondry’s The Green Hornet (2011) in 3D and the other half watched the same film in 2D. We concentrated on a particular moment where the use of 3D technology brings some aspects of the image to the forefront, such as a prop that might have narrative significance for the story as it unfolds. We were unable to confirm that 3D effect in Gondry’s film is effectively used to direct viewers’ visual attention towards narratively relevant information. Also, we found no evidence that the 3D version of Gondry’s film contributes to better memory or narrative interpretation of this particular scene. In discussing our findings, beyond the technical conditions of our eye-tracking research, we consider the role of film genre, narrative mode, viewers’ expectations and media literacy in shaping such visual attention and narrative interpretation.