Itive film theory. In a. P. Shimamura (Ed.), Psychoncinematics: Exploring cognition
(2010). The brain's cuttingroom floor: Segmentation of narrative cinema. Frontiers in Human Neuroscience, four, 1?5. doi:10.3389/fnhum.2010.00168.Article168. Zacks, J. M., Swallow, K. M. (2007). Occasion segmentation. Current Directions in Psychological Science, 16(two), 80?4. doi:ten.1111/j.1467-8721.2007.00480.x. Filmography 1915 Barker, R. (1915). The Italian. USA: Grapevine Video. Cabane, W. C. (1915). Martyrs of the Alamo. USA: Delta Entertainment. Collins, J. (1915). Youngsters of Eve. USA: Kino Video. DeMille, C. B. (1915a). Carmen. USA: Passport Video. DeMille, C. B. (1915b). The cheat. USA: Passport Video. Olcott, S. (1915). S as when compared with their household members (Hou et al. 2012). Related Madame Butterfly. USA: Popular Players Film Corporation. Powell, F. (1915). A fool there was. USA: Grapevine Video. Sullivan, C. G. (1915). Civilization. USA: Grapevine Video. Walsh, R. (1915). Regeneration. USA: Kino Video. Young, W. title= 1472-6920-13-86 W. (1915). Alice in Wonderland. USA: Grapevine Video. 1920 Brown, C. (1920). The last with the Mohicans. USA: SlingShot Entertainment. Crosland, A. (1920). The flapper. USA: Milestone Film Video. DeMille, C. B. (1920). Why alter your wife? USA: Passport Video. Griffith, D. W. (1920). Way Down East. USA: Image Entertainment. Micheaux, O. (1920a). The symbol of your unconquered. USA: Micheaux Film. Micheaux, O. (1920b). Within our gates. Grapevine Video.Itive film theory. Inside a. P. Shimamura (Ed.), Psychoncinematics: Exploring cognition in the movies (pp. 165?91). New York: Oxford University Press. doi:10.1093/acprof:oso/9780199862139.003.0009. Smith, T. J., Henderson, J. M. (2008). Edit blindness: The relation among focus and worldwide alter blindness in dynamic scenes. Journal of Eye Movement Research, title= j.bone.2015.06.008 two(two):6, 1?7. doi:10.16910/jemr.two.two.six. Stauffer, H. B. (2008). Contemporary Bayesian and frequentist statistical study techniques for natural resource scientists. Hoboken, NJ: Wiley. Tan, E. S. (1996). Emotion and also the structure of narrative film: Film as an emotion machine. Mahwah, NJ: Lawrence Erlbaum Associates. Tarvainen, J., Westman, S., Oittinen, P. (2015). The way films feel: Aesthetic attributes and mood in film. Psychology of Aesthetics, Creativity, and also the Arts, 9(three), 254?65. doi:10.1037/a0039432. Theeuwes, J. (1991). Exogenous and endogenous control of interest: The effect of visual onsets and offsets. Interest, Perception Psychophysics, 49(1), 83?0. doi:10.3758/BF03211619. Thompson, K. (1999). Storytelling within the new Hollywood. Cambridge, MA: Harvard University Press. Thompson, K., Bordwell, D. (2010). Film history: An introduction. Boston: McGraw-Hill. Truffaut, F. (1983). Hitchcock (Rev. ed.). New York: Simon and Schuster Tsai, J. L., Levenson, R. W., Carstensen, L. L. (2000). Autonomic, subjective, and expressive responses to emotion films in older and younger Chinese Americans and European Americans. Psychology and Aging, 15(4), 684?93. doi:ten.1037//Q882-7974.15.four.684. Valdez, P., Mehrabian, A. (1994). Effects of color on emotions. Journal title= j.susc.2015.06.022 of Experimental Psychology: Common, 123(4), 394?09. doi:10.1037/0096-3445.123.four.394. Van Laer, T., De Ruyter, K., Visconti, L. M., Wetzels, M. (2014). The extended transportation-imagery model: A meta-analysis with the antecedents and consequences of consumer's narrative transportation. Journal of Consumer Study, 40(4), 797?17. doi:10.1086/673383.Cutting Cognitive Analysis: Principles and Implications (2016) 1:Web page 20 ofZacks, J.