Visual Disturbances: what eye-tracking and 187 unlicensed clips reveal about change blindness and our perception of films

Originally published at:


Two different bylines?

This is really interesting, but about a mile over my head. Amazing to know there are people who can craft a film in this way - the one we made in ninth grade was less sophisticated.

1 Like

If any of you out there have not seen his work stop everything and go see some now.
Tati is pure cinema and a joyful ballet of life going on all around on the screen.


I think the one I saw, lo these many years ago, was Playtime. As I recall, it was essentially a silent film with a musical soundtrack and lots of sound effects, like the ultra-modern chair that made farting noises when you sat in it. I really should see it again along with the other films.

1 Like

The color version of ‘jour de fête’ is also very nice. If only for the story behind it. He shot the film on two cameras. One (ordinary, for the time) blac & white camera and one experimental model of color camera which used prisms (I think) to seperate out the film through 3 color filters and store the red green and blue on ordinary b&w film stock.

When the movie was done the accompanying projector turned out to be infeasible (too expensive? technically impossible at the time?) so he released the B&W version.

Quite recently the ‘color’ copy of the film was scanned and digitally restored. They had to go back to the villages where the movie was shot and use a colorimeter on the still existing stuff (roofs mainly I think) to calibrate the coloring, because the original color filters were lost.


The video essay is fascinating, and I won’t be able to watch further films without asking myself if I am seeing invisible style or invisible cinema (or neither?). But, was that low-pitched, white-noisy, speaker-vibrating, making-difficult-for-non-native-English-speakers-to-understand-the-voiceover sound really necessary?

This topic was automatically closed after 5 days. New replies are no longer allowed.