원문정보
초록
영어
This study investigated the influence of scene composition on narrative pacing through a quantitative analysis of two animated short films, Farewell and One Small Step. The analysis was grounded in theories of narrative time, including Bergson’s notion of durée, Husserl’s triple temporal structure, and Deleuze’s distinction between movement-image and time-image. Editing variables such as shot length, cut frequency, and rhythm were found to shape viewers’ emotional engagement, and Cinemetrics analysis identified distinct pacing patterns with measurable psychological effects. The findings were further situated within broader temporal theories from physics (Einstein, Minkowski) and phenomenology (Augustine, Kant). We present a new methodological framework that bridges perceptual time and narrative structure in audiovisual storytelling, advancing the quantitative study of audiovisual time. This framework establishes a model for analyzing audiovisual time not only in traditional films but also in emerging media environments, providing a foundation for future research at the intersection of narrative theory, cinematic practice, and media technology.
목차
1. INTRODUCTION
2. LITERATURE REVIEW
2.1 Philosophical Origins and the Internalization of Time
2.2 Duration, Internal Time-Consciousness, and Cinematic Temporality
2.3 Scientific and Technological Perspectives on Time
2.4 Data-Driven Accounts of Editing Rhythm
2.5 Gap and Differentiation of the Present Study
3. THEORETICAL FRAMEWORK
4. METHODOLOGY
4.1 Research Objectives and Corpus
4.2 Variable Definitions and Theoretical Rationale
4.3 Shot Size Classification and Analytical Criteria
4.4 Analytical Procedures
5. RESULTS
5.1 Temporal Analysis by Shot Type Based on Cinemetrics
5.2 Descriptive Statistics
5.3 Pearson Correlation Analysis Among Variables
5.4 Results of Independent Samples t-Test
5.5 Qualitative Time-Series Analysis of Emotional Rhythm Segments
6. DISCUSSION
6.1 Quantifiability of Narrative Pacing and Theoretical Validity
6.2 The Role of Cut Frequency and Perceived Emotional Tempo
6.3 Editing Rhythm Variability and Emotional Design Strategy
6.4 Narrative Function of Emotional Rhythm Through Qualitative Analysis
6.5 Strategic Variation in Narrative Pacing Between Films
6.6 Contribution and Coherence Between Theory and Method
6.7 Limitations and Future Directions
7. CONCLUSION
REFERENCES