@article{
 title = {Politicizing Eye Tracking Studies of Film},
 type = {article},
 year = {2015},
 identifiers = {[object Object]},
 websites = {http://refractory.unimelb.edu.au/2015/02/07/brown/},
 id = {4e3bb629-456a-32f7-acd6-38d80148f4e1},
 created = {2018-01-04T14:05:19.056Z},
 accessed = {2018-01-04},
 file_attached = {false},
 profile_id = {88c6f424-c56e-39c8-8469-ef421e6fad5d},
 group_id = {a0a972eb-fa85-353b-b901-3144084624d5},
 last_modified = {2018-01-04T14:05:19.056Z},
 tags = {Accesibilidad},
 read = {false},
 starred = {false},
 authored = {false},
 confirmed = {false},
 hidden = {false},
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 abstract = {This essay puts eye tracking studies of cinema into contact with film theory, or what I term film-philosophy, so as to distinguish film theory from specifically cognitive film theory. Looking at the concept of attention, the essay explains how winning and keeping viewers’ attention in a synchronous fashion is understood by eye tracking studies of cinema as key to success in filmmaking, while film-philosophy considers the winning and keeping of attention by cinema to be a political issue driven by economics and underscored by issues of control. As such, film-philosophy understands cinema as political, even if eye tracking studies of film tend to avoid engagement in political debate. Nonetheless, the essay identifies political dimensions in eye tracking film studies: the legitimization of the approach, its emphasis on mainstream cinema as an object of study and its emphasis on statistical significance all potentially have political connotations/ramifications. Invoking the concept of cinephilia, the essay then suggests that idiosyncratic viewer responses, as well as films that do not synchronously capture attention, might yield important results/play an important role in life in an attention-driven society.},
 bibtype = {article},
 author = {Brown, W.},
 journal = {Refractory: A Journal of Entertainment Media}
}

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