Given all these changes, we think itmakes sense to speak of an evolution for Hollywood film, one that increasingly makes presentational aspects of film either closer to what we perceive in the natural world (color, surrounding sound, enlarged images, etc) or aspects that capitalize on what has been discovered to be perceptually and cognitively acceptable (cuts, shot-reverse-shot composition and point-of-view editing, the optics of cameramovements without feedback fromeyemovements, etc). This evolution would also appear to reflect a goal of Hollywood filmmakers: to increase their control over viewers’ attention, and possibly to increase viewer engagement. If true, some long-termresults of filmmakers’ explorations exercising this control should be found in.
