NARU, a benchmark designed to evaluate Narrative evolution and Reasoning on cultural Understanding in Japanese long-form video, is introduced, a hierarchical memory-based annotation pipeline that transforms raw video into structured event, narrative, and cultural annotations, then generates questions via task-oriented synthesis and iterative shortcut removal.
Abstract
Long-form video understanding encompasses tasks that go beyond retrieving isolated events, including tracking an evolving narrative and interpreting social meaning that may remain implicit. However, existing benchmarks rarely evaluate these capabilities jointly, particularly in high-context, non-English media. To address this gap, we introduce NARU, a benchmark designed to evaluate Narrative evolution and Reasoning on cultural Understanding in Japanese long-form video. NARU consists of 1,481 questions grounded in 155 videos totaling 146.8 hours, spanning four narrative and five cultural dimensions. To construct the benchmark at this scale, we propose a hierarchical memory-based annotation pipeline that transforms raw video into structured event, narrative, and cultural annotations, then generates questions via task-oriented synthesis and iterative shortcut removal. The construction process includes two native-speaker verification stages involving 68 annotators. Evaluations across eight model configurations reveal substantial limitations in both long-range narrative integration and culturally grounded reasoning. By exposing these persistent gaps, NARU offers a systematic testing ground for developing MLLMs capable of reliably interpreting long-form, high-context video.
Social media videos often communicate meanings that go beyond their visible actions, captions, or speech. A mundane clip may become humorous, ironic, or satire only through the interaction of multimodal cues and cultural context, making such content a difficult test case for video-language models. In this paper, we introduce \textit{DrivelHub+}, a benchmark for evaluating whether models can infer the implicit, non-linear, and rhetorically layered meanings of social media videos that appear nonsensical on the surface but convey deliberate pragmatic meanings. DrivelHub+ consists of 1,000 videos collected from social media, each annotated with a human-written implicit narrative explanation. Unlike conventional video understanding tasks focused on recognition or description, we present a benchmark that targets contextual multimodal reasoning. We evaluate current video-language models from two perspectives: explanation, where models must explain the pragmatic comprehension of a video in natural language; and representation, where we adapt reasoning-as-retrieval to test whether model representations align videos with their corresponding implicit narratives in both video-to-text and text-to-video retrieval. Our benchmark provides a diagnostic setting for measuring the gap between multimodal perception and pragmatic comprehension, asking whether current models can move beyond describing what is shown to inferring what is meant.
This article argues that the difficulty of video-language systems is structural rather than one of capacity, and proposes a framework that separates temporal coherence into four levels, covering perceptual continuity, event segmentation, entity persistence and causal narrative structure.
T. S. M M· Eduschool Journal of Artific...· 0 citations
Cultural understanding in video means more than recognizing what is visible; it requires grasping the symbolic and temporal significance of cultural concepts. We decompose this into three abilities: naming what a concept symbolizes, visually recognizing it on video, and locating its sub-events in time. Existing video-cultural benchmarks tend to test what is seen, collapsing these three abilities into a single score that hides the bottleneck. We introduce the Cultural Moment Benchmark (CMB): 306 expert-curated concepts from seven countries in Southeast Asia across five categories. We evaluate each concept through three stages, one per ability. Given a description, Stage 1 (S1) selects from four candidate concept names, Stage 2 (S2) selects from four candidate video moments, and Stage 3 (S3) predicts the start and end times of the moment in a video. To keep each stage focused on a distinct ability, we use three design choices: semantic-similarity distractors (S1, S2), unlabeled video moments (S2), and free-form localization on a different example video (S3). Across six vision-language models, failure modes vary by ability and modality. i) Even the strongest closed-source models score below 30% when all three stages must be correct; ii) The three abilities do not fully cascade: naming a concept correctly helps half the models recognize it on video, but recognizing it has little effect on locating the sub-event in time; iii) Audio is complementary, redundant, or distracting depending on the concept, more often distracting in non-Latin-script countries; removing both audio and subtitles hurts Games and Music the most. Our 14-rater human study shows that even Expert raters score below chance on concepts from a neighboring country, indicating that CMB requires country-specific cultural knowledge. CMB acts as a diagnostic harness, attributing failures to a specific ability or modality.
Burak Satar, Zhixin Ma, Yu-Tong Cheng et al.· 0 citations
This survey examines the problem as narrative consistency, defined as the task-conditioned preservation of binding propositions in the operative narrative state, and introduces a four-category, fourteen-subtype taxonomy comprising World and Setting, Character-Agentive, Event-Structural, and Narration and Discourse categories.
Keunhyeung Park, Seunguk Yu, Jinhee Jang et al.· IEEE Access· 0 citations
Long-form audio description (AD) requires more than describing visible actions: it must preserve characters, events, relationships, and story context across scenes so that blind and low-vision (BLV) audiences can follow a film. Modern video-language models (VLMs) are effective on short clips, but they often treat each moment independently, producing descriptions that miss who characters are, why events matter, and how the current scene connects to earlier narrative context. We propose StoryTeller, a training-free framework for story-aware long-form AD. Instead of relying only on local visual cues, StoryTeller maintains a verified narrative memory that carries forward story-relevant information across scenes, enabling later descriptions to remain coherent, grounded, and contextually informative. Given only raw video and a movie title, StoryTeller can optionally retrieve public movie metadata to resolve names and story context, while accepting only facts that are supported by the video through semantic filtering and VLM verification. The method requires no subtitles, scripts, AD transcripts, aligned captions, character banks, precomputed face identities, or task-specific fine-tuning. To evaluate whether generated AD preserves narrative information, we introduce StoryAD-QA, a question-answering benchmark that tests whether a language model can answer story-context questions using only the generated descriptions. Experiments on standard AD benchmarks and diverse long-form videos show that StoryTeller consistently improves narrative coherence, factual grounding, and story comprehension over strong baselines in automatic, QA-based, and human evaluations.
Seung-Yeon Hahm, Minh T. Dinh, SouYoung Jin· 0 citations
Multimodal language models increasingly show promise for enabling the large-scale computational analysis of film, opening up new avenues for learning about film history and the evolution of narrative techniques. But the creation of stable benchmarks built around Hollywood films is complicated by copyright protections. In this work, we address these concerns directly, by building a new collection of Hollywood films defined by two criteria: box office popularity (where we publish the first large-scale, open collection of weekly box office earnings reported by Variety magazine from 1922-1979); and likely public domain status (by researching copyright registrations and renewals in the US Catalog of Copyright Entries). We build a new multimodal MCQ benchmark on top of this collection that focuses on narrative elements that directly evaluate the abilities of models to inform meaningful research on film narrative; we find that many vision-language models struggle on this task (with many performing at near-chance levels of accuracy), while audio-visual models (including those that use audio in captioning scenes) reach a maximum accuracy of 61.1%, well below human-level performance.
David Bamman, Kent K. Chang, Allison Cooper et al.· 2 citations