The Role Of Theory Of Mind In Film Narrative Comprehension: A Behavioural Exploration Study With A Self-Paced Viewing Paradigm - Info and Reading Options

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To create suspenseful, dramatic or comical situations, filmmakers make creative decisions about the flow of story information: when, how and, most importantly, who to deliver information for it to come across effectively. They often use Dramatic Irony, a narrative device where the audience knows something that at least one characters does not, thereby creating drama and a divergence in perspectives in relation to the differential knowledge provided. Viewers are first shown the installation scenes that reveal the key information that the character(s) does not have access to and following, are shown the exploitation scenes that stage the dramatic irony conflict, in which the characters’ goals or wellbeing are impacted as a consequence of their ignorance e.g. misunderstandings or decoys. We hypothesized that the salient divergence of knowledge in dramatic irony scenes prompts spectators to infer the character’s mental states and thus proposed Theory of Mind (ToM) as a critical sociocognitive mechanism underlying the comprehension of dramatic irony. For the first time, we directly tested the hypothesis that ToM is implicated in film narratives by manipulating audience access to knowledge from the installation scenes (Study 1). In a between-subjects design, participants watched one of two knowledge conditions: in the Dramatic Irony condition, they watched 6 clips from different Harold Lloyd silent comedy films with complete scenes of dramatic irony (context, installation scene and exploitation scene); and in the Control condition, the installation scenes were edited out so participants only watched the context and exploitation scenes, which still maintained narrative coherence, allowing us to compare whether viewers process the same exploitation scenes engaging more in ToM reasoning when they know more than the character vs. when they do not. We hypothesized that if participants in the dramatic irony condition build a more complex event model, or alternatively different event models for character perspectives, there would be deeper moments of processing of the cognitive states in the exploitation scenes. This should be confirmed by delays or slowed-down moments in a novel self-paced viewing task as well as eye-tracking data: (a) pupil data as an indirect marker of processing load and (b) the analysis of spatio-temporal distribution of attention, i.e. what part of the images participants are processing differently across conditions, which would inform us about how participants extract information about characters’ mental states, and whether there are longer viewing times when event models are switched/updated to follow character perspectives.

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