Understanding how people comprehend visual narratives (including picture stories, comics, and film) requires the combination of traditionally separate theories that span the initial sensory and perceptual processing of complex visual scenes, the perception of events over time, and comprehension of narratives. Existing piecemeal approaches fail to capture the interplay between these levels of processing. Here, we propose the Scene Perception & Event Comprehension Theory (SPECT), as applied to visual narratives, which distinguishes between front‐end and back‐end cognitive processes. Front‐end processes occur during single eye fixations and are comprised of attentional selection and information extraction. Back‐end processes occur across multiple fixations and support the construction of event models, which reflect understanding of what is happening now in a narrative (stored in working memory) and over the course of the entire narrative (stored in long‐term episodic memory). We describe relationships between front‐ and back‐end processes, and medium‐specific differences that likely produce variation in front‐end and back‐end processes across media (e.g., picture stories vs. film). We describe several novel research questions derived from SPECT that we have explored. By addressing these questions, we provide greater insight into how attention, information extraction, and event model processes are dynamically coordinated to perceive and understand complex naturalistic visual events in narratives and the real world.

What is the relationship between film viewers’ eye movements and their film comprehension? Typical Hollywood movies induce strong attentional synchrony—most viewers look at the same things at the same time. Thus, we asked whether film viewers’ eye movements would differ based on their understanding—the mental model hypothesis—or whether any such differences would be overwhelmed by viewers’ attentional synchrony—the tyranny of film hypothesis. To investigate this question, we manipulated the presence/absence of prior film context and measured resulting differences in film comprehension and eye movements. Viewers watched a 12-second James Bond movie clip, ending just as a critical predictive inference should be drawn that Bond’s nemesis, “Jaws,” would fall from the sky onto a circus tent. The No-context condition saw only the 12-second clip, but the Context condition also saw the preceding 2.5 minutes of the movie before seeing the critical 12-second portion. Importantly, the Context condition viewers were more likely to draw the critical inference and were more likely to perceive coherence across the entire 6 shot sequence (as shown by event segmentation), indicating greater comprehension. Viewers’ eye movements showed strong attentional synchrony in both conditions as compared to a chance level baseline, but smaller differences between conditions. Specifically, the Context condition viewers showed slightly, but significantly, greater attentional synchrony and lower cognitive load (as shown by fixation probability) during the critical first circus tent shot. Thus, overall, the results were more consistent with the tyranny of film hypothesis than the mental model hypothesis. These results suggest the need for a theory that encompasses processes from the perception to the comprehension of film.

What level of categorization occurs first in scene gist processing, basic level or the superordinate “natural” versus “man-made” distinction? The Spatial Envelope model of scene classification and human gist recognition (Oliva & Torralba, 2001) assumes that the superordinate distinction is made prior to basic-level distinctions. This assumption contradicts the claim that categorization occurs at the basic level before the superordinate level (Rosch, Mervis, Gray, Johnson, & Boyes-Braem, 1976). The present study tests this assumption of the Spatial Envelope model by having viewers categorize briefly flashed and masked scenes after varying amounts of processing time. The results show that early levels of processing (SOA < 72 ms) (1) produced greater sensitivity to the superordinate distinction than basic-level distinctions, and (2) basic-level distinctions crossing the superordinate natural/man-made boundary are treated as a superordinate distinction. Both results support the assumption of the Spatial Envelope model, and challenge the idea of basic-level primacy.

People can recognize the meaning or gist of a scene from a single glance, and a few recent studies have begun to examine the sorts of information that contribute to scene gist recognition. The authors of the present study used visual masking coupled with image manipulations (randomizing phase while maintaining the Fourier amplitude spectrum; random image structure evolution [RISE]; J. Sadr & P. Sinha, 2004) to explore whether and when unlocalized Fourier amplitude information contributes to gist perception. In 4 experiments, the authors found that differences between scene categories in the Fourier amplitude spectrum are insufficient for gist recognition or gist masking. Whereas the global 1/f spatial frequency amplitude spectra of scenes plays a role in gist masking, local phase information is necessary for gist recognition and for the strongest gist masking. Moreover, the ability to recognize the gist of a target image was influenced by mask recognizability, suggesting that conceptual masking occurs even at the earliest stages of scene processing.