مطالعه تاثیرات جنیست در توجه چشمی مخاطبان سینما با استفاده از ابزار ردیابی چشم: مورد مطالعه فیلم سینمایی «جدایی نادر از سیمین»

تاکنون مطالعات زیادی در حوزه جنسیت و تفاوت‌های ادراکی تماشاگران سینما انجام شده است؛ اما بررسی‌های عینی‌تری برای اثبات تفاوت‌های ادراکی جنسیت لازم است که مطالعات سینما عصب‌شناختی، این امکان را برای تحلیل‌گران سینما مهیا می‌کند. هدف مقاله حاضر، مطالعه تاثیرات جنسیت بر الگوهای نگاه به هنگام تماشای بخشی از فیلم «جدایی نادر از سیمین» به کمک ابزار ردیابی چشم است. در این پژوهش نیمه‌تجربی که به روش آزمایشگاهی انجام شده است، شرکت‌کنندگان، 6 نفر مرد و 6 نفر زن 20 تا 30 سال، در حالی که عینک ردیابی چشم بر چشم داشتند، در معرض 3 دقیقه از سکانس ابتدایی فیلم قرار گرفتند که در آن شخصیت اصلی زن و مرد فیلم، رو به دوربین در حال دیالوگ هستند. نقاط تمرکز نگاه و توجه افراد با استفاده از دستگاه ردیابی چشم ثبت شد. نتایج نشان داد علی‌رغم آن‌که هر دو گروه مردان و زنان به فرد دیالوگ‌کننده بیشتر خیره می‌شدند؛ اما زمانی که یکی از شخصیت‌ها در حال دیالوگ بود، تماشاگر هم‌جنس او توجه بیشتری به وی نشان می‌داد و تماشاگر جنس مخالف درصدی از نگاه خود را نیز معطوف به شخصیت صامت همجنس خودش می‌کرد. این یافته‌ها جنبه‌هایی از تاثیرات تفاوت‌های جنسیتی در الگوهای نگاه انسان را آشکار می‌کند.

Studying the Influence of Gender on Gaze Point of Cinema Viewers with Eye Tracker Headset: The Case of Separation Movie

Cinema is a visualbased art, so the visual mechanism, which is the path to understanding the beauty of this art, should be recognized. Sight and everything that makes sense in this way are fundamental aspects of cinematic studies. During the life of cinema, how to watch a film has been repeatedly examined from a variety of perspectives. Transplantation of neuroscience, vision and cinema are new approaches that have been addressed over the last decade. So far, many studies have been conducted on the gender and cognitive differences of cinema audiences. Oversight studies are needed to prove the perceptual differences between the sexes that Neurocinematics studies provide this opportunity for cinema analysts. The present study aims to provide preliminary evidence for gender differences in eye movement patterns when watching a sequence of separation film. To do this, subjects, consisting of six men and six women, aged between 20 and 30, were exposed to three minutes of the opening sequence of a movie, in which the leading actor and actress are engaged in dialogue while facing the camera. We have focused on four fivesecond scenes. In the first scene, both actor and actress are silent, in the second scene, only the actress is speaking and the actor is silent and both are facing the camera, while in the third scene the actor is speaking and the actress is silent. In the last scene, the actor and the actress are quarreling and talking at the same time. Gaze points have been recorded by an eyetracker. Eye tracking provides an objective measure of the visual patterns of participants that allow us to determine which elements in the picture are first and foremost concerned. This data can be used to determine the user’s priorities. Detecting user behavioral changes allows us to recognize the tastes of users. The process of tracking how a person watches items on a movie involves two issues: saccades and fixation. The saccade is the simultaneous movement of the eyes in the same direction as it jumps from one fixation point to another. Although simultaneous, the eyes must pause on a specific area of the screen, and this is known as the fixation. The results indicate that both male and female observers gaze firstly at the speaker. They also suggest that whenever one of the characters is speaking, the observer of the same gender pays more attention to them. The audiences pay remarkable attention to the same gender when he or she is silent. These observations unveil important aspects of human gaze patterns and particularly reveal important gender differences of eye movement patterns. The findings of this study, on the one hand, reveal important aspects of visual patterns and, in particular, important gender differences. On the other hand, this study could be a good foundation for developing gender studies in cinema with the help of new tools, from the perspective of the study of Neurocinematics to the opening of the new window to cinema studies, to clarify some uncharted research in this field.