Are We Moving Too Fast?: Representation of Speed in Static Images.

Despite pictures being static representations, they use various cues to suggest dynamic motion. To investigate the effectiveness of different motion cues in conveying speed in static images, we conducted 3 experiments. In Experiment 1, we compared subjective speed ratings given for motion lines trailing behind movers, suppletion lines replacing parts of the movers and backfixing lines set in the background against the baseline of having no extra cue.

The Meaning of Motion Lines?: A Review of Theoretical and Empirical Research on Static Depiction of Motion.

Static depiction of motion, particularly lines trailing behind a mover, has long been of interest in the psychology literature. Empirical research has demonstrated that these "motion lines" benefited motion comprehension in static images by disambiguating the direction of movement. Yet, there is no consensus on how those lines derive their meaning.

The framing of subjectivity: Point-of-view in a cross-cultural analysis of comics.

In visual narratives like comics, the most overt form of perspective-taking comes in panels that directly depict the viewpoints of characters in the scene. We therefore examined these subjective viewpoint panels (also known as point-of-view panels) in a corpus of over 300 annotated comics from Asia, Europe, and the United States. In line with predictions that Japanese manga use a more 'subjective' storytelling style than other comics, we found that more manga use subjective panels than other comics, with high proportions of subjective panels also found in Chinese, French, and American comics.

Linguistic typology of motion events in visual narratives.

Languages use different strategies to encode motion. Some use particles or "satellites" to describe a path of motion (Satellite-framed or S-languages like English), while others typically use the main verb to convey the path information (Verb-framed or V-languages like French). We here ask: might this linguistic variation lead to differences in the way paths are depicted in visual narratives like comics? We analyzed a corpus of 85 comics originally created by speakers of S-languages (comics from the United States, China, Germany) and V-languages (France, Japan, Korea) for both their depictions of path segments (source, route, and goal) and the visual cues signaling these paths and manner information (e.