Study objectives were to apply Graesser's constructionist theory of narrative comprehension to motion pictures; to examine the affective aspects of understanding of narrative; and to test whether individual cognitive differences impact enjoyment of story comprehension.

The first three hypotheses predicted that viewers with lower cognitive ability, lower need for cognition, and less experience with challenging films would understand a film of lower cognitive challenge more than they would a film of greater cognitive challenge. The second three hypotheses predicted that viewers of higher cognitive ability, higher need for cognition, and greater experience with challenging films would enjoy a film of greater cognitive challenge more than they would a film of lesser cognitive challenge; and that viewers with lower cognitive ability, lower need for cognition, and less experience with challenging films would enjoy a film of lower cognitive challenge more than a film of greater cognitive challenge.

The feature film Memento (Christopher Nolan, 2000) was re-edited to produce three experimental treatment versions with varying levels of cognitive challenge. In a 2 x 4 experimental design, these three versions plus the original Memento were shown to four experimental groups of university undergraduates. A treatment check showed that the groups who saw the versions with the most and least predicted cognitive challenge experienced significantly different levels of cognitive challenge as measured by a three-item ad hoc scale.

Analysis of variance showed no main effects of treatment group (cognitive challenge presented by the film) on comprehension or enjoyment. Analysis of variance also showed no interaction effects between cognitive ability (as measured by a composite of reported high school GPA, SAT score, and university GPA), need for cognition (as measured by Cacioppo, Petty, & Kao's scale), or experience with challenging films (as measured by an ad hoc self-report list of 24 challenging films).

A stepwise regression showed that of the measured variables, only liking for the protagonist was a significant predictor of enjoyment. This suggests that feelings for the characters may outweigh narrative comprehension in producing viewer enjoyment.