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:: perception, cognition, events, and movies:

• Cutting, J. E.(2023) Changes in conversations across a century of popular cinema Art & Perception, 20 1-19.
• Cutting, J. E.(2023) Précis of Movies on our minds. Projections: The Journal for Movies and Mind, 17(1), 21-27.
• Cutting, J. E.(2023) Replies to commentators on Movies on our minds. Projections: The Journal for Movies and Mind, 17(1), 76-91.
• Armstrong, K. L. & Cutting, J. E. (2023). On the physical variables filmmakers use to engage viewers. Psychology of Aesthetics, Creativity, and the Arts, 17(5), 541-552.
• Cutting, J. E. (2022). Evolution of the depiction of telephone calls in popular cinema. Projections: The Journal for Movies and Mind, 16(2), 1-27.
• Cutting, J. E. (2021). Three filmmaking practices that guide our attention to popular cinema. Art & Perception, 10(1), 63-88.
• Cutting, J. E. (2020). Goldilocks aesthetics. Projections: The Journal for Movies and Mind, 14(2), 66-75.
• Cutting, J. E. & Pearlman, K. (2019). Shaping edits, creating fractals: A cinematic case study. Projections: The Journal for Movies and Mind, 13(1), 2-22. Berghahn link.
• Cutting, J. E. (2019). Sequences in popular movies generate inconsistent event segmentation. Attention, Perception, & Psychophysics, 81(6), 2014-2025. SpingerLink
• Cutting, J. E. & Armstrong, K. L. (2019). Large-scale narrative events in popular movies. Cognitive Research: Principles and Implications, 4, Article 14, 1-18.
• Cutting, J. E., DeLong, J. D., & Brunick, K. L. (2018). Temporal fractals in movies and mind. Cognitive Research: Principles and Implications, 3, Article 8, 1-21. SpingerLink
• Cutting, J. E. & Armstrong, K. L. (2018). Cryptic emotions and the emergence of a metatheory of mind in popular filmmaking. Cognitive Science, 42, 1317-1344.
• Armstrong, K. L. & Cutting, J. E. (2017). Considering the filmmaker: Intensified continuity, narrative structure, and the Distance-Embracing model. Behavioral and Brain Sciences, 40, E349. target article by Menninghaus et al
• Armstrong, K. L. & Cutting, J. E. (2017). Events, movies, and aging. Journal of Applied Research in Memory and Cognition, 6,(2), 137-140.
• Cutting, J. E. (2016). The evolution of pace in popular movies. Cognitive Research: Principles and Implications, 1(1), Article 30: 1-21. SpingerLink.
• Cutting, J. E. (2016). Narrative theory and the dynamics of popular movies. Psychonomic Bulletin & Review, 23(6), 1713-1743. SpringerLink, see also Springer Nature
• Candan, A., Cutting, J. E., & DeLong, J. E. (2016). RSVP at the movies: Dynamic images are remembered better than static images when resources are limited. Visual Cognition, 23(9-10), 1205-1216.
• Armstrong, K. L. & Cutting, J. E. (Mar 2016). Viewer comprehension and temporal shifts in Hollywood film. Elephant & Castle, 14, 5-25.
• Cutting, J. E. & Armstrong, K. L. (2016). Facial expression, size, and clutter: Inferences from movie structure to emotion judgments and back. Attention, Perception, & Psychophysics, 78(3), 891-901. SpringerLink
• Cutting, J. E. (2015). The framing of characters in popular movies. Art & Perception, 3(2), 191-212.
• Cutting, J. E. & Candan, A. (2015). Shot durations, shot classes, and the increased pace of popular movies. Projections: The Journal for Movies and Mind, 9(2), 40-62.
• Cutting, J. E. & Iricinschi, C. (2015). Re-presentations of space in Hollywood movies: An event indexing analysis, Cognitive Science, 39(2), 434-456.
• Cutting, J. E. (2014). How light and motion bathe the silver screen. Psychology of Aesthetics, Creativity, and the Arts, 8(3), 340-353.
• Brunick, K. L. & Cutting, J. E. (2014). Coloring the animated world: Exploring human color perception and preference through the animated film. In P. Taberham & T. Nannicelli (eds.) Cognitive media theory (pp. 124-138), New York: Routledge.
• Cutting, J. E. (2014). Event segmentation and seven types of narrative discontinuity in popular movies. Acta Psychologica ,149(6), 69-77.
• DeLong, J. E., Brunick, K. L, & Cutting, J. E. (2014). Film through the visual system: Finding patterns and limits. In J. C. Kaufman & D. K. Simonton (Eds.) Social science of cinema. (pp. 123-137) New York: Oxford.
• Cutting, J. E., Iricinschi, C., & Brunick, K. L. (2013). Mapping narrative space in Hollywood film. Projections: The Journal for Movies and Mind ,7(2), 80-107.
• Cutting, J. E., & Candan, A. (2013). Movies, evolution, and mind: From fragmentation to continuity.The Evolutionary Review, 4(3), 25-35.
• Brunick, K. L., Cutting, J. E., & DeLong, J. E. (2013). Low-level features in film: What they are and why we would be lost without them. In A. Shimamura (Ed.) Psychocinematics. (pp. 133-148). New York: Oxford.
• Cutting, J. E., Brunick, K. L, & Candan, A. (2012). Perceiving event dynamics and parsing Hollywood films. Journal of Experimental Psychology: Human Perception and Performance, 38(6), 1476-1490.
• Cutting, J. E., Brunick, K. L., & DeLong, J. E. (2012). On shot lengths and film acts: A revised view. Projections: The Journal for Movies and Mind, 6 , 142-145.
• Smith, T. J., Levin, D. T., & Cutting, J. E. (2012). A window on reality: Perceiving edited moving images. Current Directions in Psychological Science, 21(2), 107-113.
• Cutting, J. E., Brunick, K. L, DeLong, J. E., Iricinschi, C., & Candan, A. (2011). Quicker, faster, darker: Changes in Hollywood film over 75 years. i-Perception, 2, 569-576.
• Cutting, J. E., Brunick, K. L., & DeLong, J. E. (2011). The changing poetics of the dissolve in Hollywood film. Empirical Studies in the Arts, 26, 149-169.
• Cutting, J. E., Brunick, K. L., & DeLong, J. E. (2011). How act structure sculpts shot lengths and shot transitions in Hollywood film. Projections: The Journal for Movies and Mind, 5, 1-16.
• Cutting, J. E., DeLong, J. E., & Brunick, K. L. (2011). Visual activity in Hollywood film: 1935 to 2005 and beyond. Psychology of Aesthetics, Creativity, and the Arts, 5, 115-125. supplemental material.
• Cutting, J. E., DeLong, J. E., & Nothelfer, C. E. (2010). Attention and the evolution of Hollywood film. Psychological Science, 21, 440-447. supplemental material.
• Cutting, J. E. (2005). Perceiving scenes in film and in the world. In J. D. Anderson & B. F. Anderson (Eds.) Moving image theory: Ecological considerations (pp. 9-27). Carbondale, IL: University of Southern Illinois Press. Link to book.
• Cutting, J. E. (1997). How the eye measures reality and virtual reality. Behavior Research Methods, Instrumentation, and Computers, 29, 29-36. SpringerLink
• Cutting, J. E. (1991). On the efficacy of cinema, or what the visual system did not evolve to do. In S. Ellis (Ed.) Pictorial communication in virtual and real environments (pp. 486-495). London: Taylor & Francis. Link to book.
• Cutting, J. E. (1987). Rigidity in cinema seen from the front row, side aisle. Journal of Experimental Psychology: Human Perception and Performance, 13, 323-334.
• Cutting, J. E. (1986). The shape and psychophysics of cinematic space. Behavior Research Methods, Instruments, & Computers, 18, 551-558. SpringerLink.

:: aesthetics and the perception of pictures, of art ::

• Cutting, J. E. (2020). Goldilocks aesthetics. Projections, 14(2), 66-75.
• Cutting, J. E. (2017). Mere exposure and aesthetic realism: A response to Bence Nanay. Leonardo, 50(1), 64-66.
• Cutting, J. E. (2009). The end of art? Empirical Studies in the Arts, 27, 153-158.
• Cutting, J. E. (2007). Mere exposure, reproduction, and the impressionist canon. In A. Brzyski (Ed.) Partisan canons (pp. 79-93). Durham, NC: Duke University Press.
• Cutting, J. E. (2006). Impressionism and its canon. Lanham, MD: University Press of America
• Cutting, J. E. (2006). The mere exposure effect and aesthetic preference. In P. Locher, C. Martindale, & L. Dorfman (Eds.) New directions in aesthetics, creativity, and the psychology of art (pp. 33-46). Amityville, NY: Baywood Publishing. Link to review
• Cutting, J. E. (2003). Gustave Caillebotte, French Impressionism, and mere exposure. Psychonomic Bulletin & Review, 10, 319-343. SpringerLink


• DEMO TEST of seven pairs of images for mere exposure effect


• Cutting, J. E. (2003). Reconceiving perceptual space.  In H. Hecht, R. Schwartz, & M. Atherton (Eds.) Perceiving pictures: A  interdisciplinary approach to pictorial space (pp. 215-238) Cambridge, MA: MIT Press.
• Cutting, J. E. (2002). Representing motion in a static image: Constraints and parallels in art, science, and popular culture. Perception, 31, 1165-1194.
• Cutting, J. E. (2000). Images, imagination, and movement: Pictorial representations and their development in the work of James Gibson. Perception, 29, 635-648.
• Cutting, J. E. & Massironi, M. (1998). Pictures and their special status in cognitive inquiry. In J. Hochberg (Ed.) Perception and cognition at century's end (pp. 137-168). San Diego, CA: Academic Press.
• Cutting, J. E. (1997). How the eye measures reality and virtual reality. Behavior Research Methods, Instrumentation, and Computers, 29, 29-36. SpringerLink
• Busey, T. A., Brady, N. P., & Cutting, J. E. (1990). Compensation is unnecessary for the perception of faces in slanted pictures. Perception & Psychophysics, 48, 339-347. SpringerLink
• Cutting, J.E. (1988). Affine distortion of pictorial space: Some predictions for Goldstein (1987) that La Gournerie (1859) might have made. Journal of Experimental Psychology: Human Perception and Performance, 14, 305-311.
• Cutting, J. E.& Garvin, J. J. (1987). Fractal curves and complexity. Perception & Psychophysics, 42, 365-370. SpringerLink.