青少年與成年人對於動態影像之審美判斷與眼球運動差異—以音樂錄影帶為例
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2009
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臺灣在1990年代左右整個社會發生重大變革。由於媒體的開放與科技的進步，台灣青少年在充滿視覺影像資訊的環境下成長，與年長世代有著截然不同的視覺經驗與價值觀念。發源自歐美文化的流行音樂錄影帶，其新型態的視覺風格與敘事手法改變了過往媒體長久以來的表現形式，儼然成為流行文化影像的代表。本研究針對12~15歲青少年與35~55歲成年人兩大年齡組，以音樂錄影帶為視覺刺激物，控制「畫面節奏」與「敘事手法」兩個變相。透過眼動儀實驗以及問卷兩種方式，記錄受測者在觀看視覺刺激物時的眼動模式以及觀看視覺刺激物後的情緒感受。研究結果顯示：（1）在偏好、美感以及愉悅項目下，世代與畫面節奏產生顯著交互作用。青少年偏好畫面節奏快的影片，也覺得比較美與愉悅；成年人偏好畫面節奏慢的影片，也覺得比較美與愉悅。（2）在偏好與美感項目下，世代與敘事手法產生顯著交互作用。相較於成年人，青少年較偏好非線性敘事的影片，也覺得比較美。（3）在意義項目下，世代與畫面節奏產生顯著交互作用。相較於青少年，成年人認為節奏慢的影片比較有意義。（4）在眼球運動方面，青少年觀看影片時的「平均注視時間」比成年人長，且達到顯著。（5）在「平均注視時間」方面，當觀看節奏快或非線性的影片時，全體受測者的平均注視時間較長，且達到顯著。（6）在「平均掃視幅度」方面，當觀看節奏快或非線性的影片時，全體受測者的平均掃視幅度較大，且達到顯著。（7）在「瞳孔大小」方面，青少年在觀看所有影片時，其瞳孔都比成年人大，且達到顯著。研究證實流行影像的特性：如快速的剪接、誇張的鏡頭運動、跳躍與破碎的敘事等等，的確使得青少年的接受度較高；相較於成年人重視敘事內容，青少年著重於動感畫面帶來的快感。而眼動儀的數據顯示，「經驗」與「熟悉度」會影響受測者觀看影片時的眼球運動模式。
A huge change of Taiwan society happened during 1990s. Due to the rapid development of media and technology, the young generation grew up within the variability of visual images that nurtured their visual experience and value system. It also caused differences of aesthetic judgment between generations. Music videos (MV), originated from Europe and the US TV programs, delivered the contents with new way of story telling and new visual style. Those changed the tradition ways of presentation and became the most representative form of modern popular culture. This study adopted 12 MVs as visual stimuli, controlled the “rhythm” and “narration way” as two independent variables. The adolescents aged 12-15 and adults age 35-55 served as the two generations of subject. The subjects watched the stimuli through an eye-tracking machine. Their eye movement, aesthetic judgment, preference, and other relative responses were collected by the instrument and a questionnaire. The results indicate: (1) There is significant interaction between generation and MV rhythm to the three dependent variables, aesthetic judgment, preference, and pleasure. The adolescents preferred high rhythm significantly more than the adults. They felt such MVs more pleasing and with higher aesthetic value than the low rhythm stimuli. On the contrary, the adults thought oppositely. (2) To the preference and aesthetic judgment, there is significant interaction between generation and narration way. The both generations had similar aesthetic judgment to the linear narration MVs, while the adults had much lower judgment and preference to un-linear ones. The two generations had opposite preferences in terms of MV rhythm. (3) To the meaning perception, there was significant interaction between generation and rhythm. The adults thought the low rhythm MVs were more meaningful, while the younger generation felt the same to stimuli of both rhythms. (4) Results about eye movement indicate the adolescents’ “average looking time” was significant longer than the adults. (5) All subjects took significant longer “average fixation duration” when watching the high rhythm and un-linear MVs. (6) All subjects’ “average saccade amplitude” were significant larger when watching high rhythm and un-linear MVs. (7) The findings of “pupil size mean” present differences between generations. The adolescents’ pupil size was significantly larger than the adults while watching the stimuli. In summery, the short cutting, fast camera action, un-linear or non-successive narration of the MVs were more acceptable to the adolescents. Comparing to the adults’ focus on the contents of MVs, the adolescents enjoyed the sensations from the rapid rhythm of them. The results from eye-tracking suggests that the subjects’ visual experiences and familiarity influenced the way of eye-movement while watching MVs.
A huge change of Taiwan society happened during 1990s. Due to the rapid development of media and technology, the young generation grew up within the variability of visual images that nurtured their visual experience and value system. It also caused differences of aesthetic judgment between generations. Music videos (MV), originated from Europe and the US TV programs, delivered the contents with new way of story telling and new visual style. Those changed the tradition ways of presentation and became the most representative form of modern popular culture. This study adopted 12 MVs as visual stimuli, controlled the “rhythm” and “narration way” as two independent variables. The adolescents aged 12-15 and adults age 35-55 served as the two generations of subject. The subjects watched the stimuli through an eye-tracking machine. Their eye movement, aesthetic judgment, preference, and other relative responses were collected by the instrument and a questionnaire. The results indicate: (1) There is significant interaction between generation and MV rhythm to the three dependent variables, aesthetic judgment, preference, and pleasure. The adolescents preferred high rhythm significantly more than the adults. They felt such MVs more pleasing and with higher aesthetic value than the low rhythm stimuli. On the contrary, the adults thought oppositely. (2) To the preference and aesthetic judgment, there is significant interaction between generation and narration way. The both generations had similar aesthetic judgment to the linear narration MVs, while the adults had much lower judgment and preference to un-linear ones. The two generations had opposite preferences in terms of MV rhythm. (3) To the meaning perception, there was significant interaction between generation and rhythm. The adults thought the low rhythm MVs were more meaningful, while the younger generation felt the same to stimuli of both rhythms. (4) Results about eye movement indicate the adolescents’ “average looking time” was significant longer than the adults. (5) All subjects took significant longer “average fixation duration” when watching the high rhythm and un-linear MVs. (6) All subjects’ “average saccade amplitude” were significant larger when watching high rhythm and un-linear MVs. (7) The findings of “pupil size mean” present differences between generations. The adolescents’ pupil size was significantly larger than the adults while watching the stimuli. In summery, the short cutting, fast camera action, un-linear or non-successive narration of the MVs were more acceptable to the adolescents. Comparing to the adults’ focus on the contents of MVs, the adolescents enjoyed the sensations from the rapid rhythm of them. The results from eye-tracking suggests that the subjects’ visual experiences and familiarity influenced the way of eye-movement while watching MVs.
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世代, 流行影像, 音樂錄影帶, 審美, 偏好, 眼球運動, generation, popular image, music video (MV), aesthetic, preference, eye-movement