Inferring Cinematic Aesthetic Biases from the Statistics of Early Movies
Cinematic aesthetic values have not been studied as thoroughly as those in music and the visual arts. Three hypotheses for these values are that they are like those of artistic paintings, that they emphasize the spatial coherence of the optical flow, and that they are temporally smooth. Here, we tes...
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| Main Authors: | , |
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| Format: | Article |
| Language: | English |
| Published: |
MDPI AG
2025-06-01
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| Series: | Entropy |
| Subjects: | |
| Online Access: | https://www.mdpi.com/1099-4300/27/7/707 |
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| Summary: | Cinematic aesthetic values have not been studied as thoroughly as those in music and the visual arts. Three hypotheses for these values are that they are like those of artistic paintings, that they emphasize the spatial coherence of the optical flow, and that they are temporally smooth. Here, we test these hypotheses and investigate other candidate aesthetic values by comparing the statistics of narrative movies and those obtained spontaneously. We perform these tests by using narrative movies from the early stages of cinematic history because these films are simple. We statistically compare these films with spontaneous movies of scenes from daily life. These statistical comparisons do not support the first hypothesis for early movies. The comparisons show that symmetry, balance, and image complexity (normalized Shannon entropy) are not different in early and spontaneous movies. For similar reasons, our data do not support the spatial coherence of early-movie optical flows as having cinematic aesthetic functions. However, in support of the third hypothesis, the temporal smoothness of luminance, but not of motions, appears to have cinematic aesthetic value. The data also uncovered two other cinematic aesthetic value candidates in both statistical surprise and spatial and temporal complexities. We discuss these candidates, pointing out similarities to music and the importance of film editing. |
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| ISSN: | 1099-4300 |